All-State
ETSBOA, MTSBOA and WTSBOA horn audition music. (recorded by Calvin Smith) - Mp3 - Click Title to Download
1. ETSBOA Sr. High ‘07
Begin your practice of this at a very slow tempo and with a metronome. Play it no faster than you can be accurate with pitches, rhythms and clear articulations. Increase the speed gradually day by day.
2. ETSBOA Upper Area – 7th Grade.
The three parts of this should be in contrast with the each other. Check the tempi carefully. For the most contrast be sure to do the articulations, dynamics, and style markings (legato, marcato).
3. ETSBOA Upper Area – 8th Grade.
Like the 7th Grade piece, study this before playing it. Observe and understand all of the style, dynamic, articulation, and tempo markings. Be sure to prepare so that you play more than notes and rhythms!
4. ETSBOA Upper Area – 9th Grade.
Since no absolute tempo marking is given here, choose a tempo that seems the best to you based on the rhythm, articulation, dynamics, and general style of what is given. At the audition have your tempo in mind and then play that tempo.
5. ETSBOA – Middle Area, Jr. Clinic.
Check out the definitions of the terms used here (grandioso, sim., legato, marcato) and think about how they will affect how you play. Be very definite about the dynamics. The tempo is up to you but is also determined by the style of the articulations and dynamics.
6. ETSBOA – Lower Area, Grade 7.
What does Andante mean? Even when defined it there will still be considerable variation in the tempo from person to person. Choose your tempo. Pick dynamics that seems appropriate.
7. ETSBOA – Lower Area, Jr. Clinic, Horn “A”.
Very little is given here in the way of tempo or dynamics. I chose to do some dynamic contrast. Add a little of yourself to your performances.
8. ETSBOA – Lower Area, Jr. Clinic, Horn “B”.
Check out the definitions of the terms used here (grandioso, sim., legato, marcato) and think about how they will affect how you play. Be very definite about the dynamics. The tempo is up to you but is also determined by the style of the articulations and dynamics.
9. MTSBOA – Jr. High Horn, Cycle B.
Choose a moderate tempo that flows along with comfortable motion but isn’t hurried. Be as smooth as you can on the slurs. Some tempo variation is good as long as it sounds in control.
10. MTSBOA – Sr. High Horn, Cycle B.
This example needs careful metronome practice but it needs to be flexible in the tempo. The tempo doesn’t need to be so rigid that neither you, nor the music, can breathe. A ritard a measure or two before the E major section “sets up” the lyric section nicely. Be smooth in the slurring here. Some notes are a bit more important than others. Some stress on these notes, in time, articulation, or volume is worth trying. For example, I liked stretching the last two notes in measure 35.
11. WSTBOA – Jr. High, ’07.
Most of what I wrote for the Sr. High piece applies here. Look this one over very carefully to be sure you see and understand all the details that need to be done to make an effective performance. Practice the sections individually.
12. WTSBOA – Sr. High, ’07.
There is a lot to study on this piece before you play. Carefully check all of the details first: tempo, dynamics, articulation, rhythms. There are many accidentals to see and do. Some ritard is a good idea to prepare for a fermata.
13. WTSBOA – Orchestra, Scheherazade. Excerpt #1.
It’s important to play the second part of the first passage muted. The second horn holds the C# muted while the first horn inserts the mute. It should be rhythmic but slightly free and relaxed.
14. WTSBOA – Orchestra, Scheherazade. Excerpt #1.
The second passage is also light and relaxed. A very slight ritard in the last measure is nice.
15. WTSBOA – Orchestra, Siegfried’s
Call.
This is one of the most famous horn orchestral excerpts ever. It needs
to be cleanly articulated with precise rhythms. Show off a little!
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