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PMEA District 7 Band & Orchestra Auditions
7:30 a.m. Directors Meeting Information
Please familiarize yourself with this information before the meeting!
Upon arriving at Dallastown High School, make your way to the registration table in the main lobby (to the left
once you enter the school). You will pick up your school packet with student scorecards.
Student Score Cards (envelope)
Please distribute these to the students and return the cards of absent students or doubles to the
labeled bin on the registration table.
If there are any corrections, please see Daryl Balseiro immediately. (You should have received
an email prior to this morning to verify the accuracy of the scorecards)
Students should keep the top portion of the scorecard (it tears off) and give the bottom portion to
the runner or chair when they enter the first audition room.
Auditioning students will be identified by number only, not by name. Audition numbers have
been randomly generated.
ALL Flute, Clarinet, and Trumpet students should know whether they are auditioning for
Upper or Lower Band. Please check for understanding.
PLEASE DO NOT WRITE DOWN YOUR STUDENTS’ AUDITION NUMBERS; YOU
SHOULD NOT SEE STUDENT AUDITION NUMBERS!
The following information is included in the director packet:
1. District 7 - PMEA Band and Orchestra Audition Procedures (p 2)
2. Room Assignments (p 4)
3. Map of Dallastown (p 5)
4. Scoring Guides (pp 6-15)
- Sight-reading (string)
- String Solo
- Scales (wind/brass/string)
- Wind/Brass Solo
- Xylophone, Battery, Snare, Timpani
5. Tally Sheets (pp 16-23)
- Sight-reading/Scale (string)
- String Solo
- Scales (wind/brass)
- Wind/Brass Solo
- Xylophone, Battery, Snare, Timpani
6. Sample Scorecards (pp 24-26)
- String
- Wind/Brass
- Percussion
7. Piccolo Audition Procedure (p 27)
8. Percussion Audition Procedure (p 28)
A Sincere Thank You for your dedication - This day is taxing for all involved.
Your professionalism and thoughtfulness make it run smoothly.
PMEA District 7 Band & Orchestra Audition Procedures
1. Directors meet before auditions for roll call, business items and a review of audition procedures. All directors with
auditioning students must be in attendance. The District 7 President must approve exceptions in advance, and an approved
substitute (PMEA member) must be provided.
2. Chairs of the flute, soprano clarinet, and trumpet committees that send players to orchestra auditions will meet immediately
following the director’s meeting. During this meeting you will select the audition passages that will be used for band
auditions and for orchestra auditions. Different passages should be used for band and orchestra wind auditions.
3. Audition committees meet in the audition areas and make judging assignments: a) scales, b) sight-reading (orchestra only), c)
solo part 1, and d) solo part 2. Whenever possible there will be two judges in each room.
4. The committee selects scales 1) chromatic scale (winds/brass/strings); 2) one sharp scale; and 3) one flat scale. Choose
whether the scales are to be slurred or tongued.
5. Committee selects two solo passages:
a. Whenever possible, one passage should be lyrical and slower in tempo; the second passage should be technical and
faster in tempo. Be sure to choose a midpoint for each passage.
b. Passages must be long enough to fairly evaluate student achievement. All auditioning students must play the same
passages.
c. Consider time constraints and the size of auditioning group when selecting solo passages.
d. Judges and students must use the officially announced edition of the solo.
e. Passages marked "cadenza" and any passage declared ineligible at the director’s meeting due to misprints or
controversy over interpretation may not be selected. When in doubt (such as ossia or optional passages), do not
select a passage.
f. ALL STUDENTS IN A SELECTED INSTRUMENT GROUP MUST PLAY THE SAME SCALES AND SOLO
PASSAGES.
6. All auditioning students meet in an audition room.
a. All students must know their assigned audition number. Make sure they know this!
b. The students are informed of scales (tongued or slurred) and solo passages to be used for auditions.
c. Restarting points (beginning and midpoint) and procedures for the two solo sections will be marked at this time to
avoid students having to speak in the audition rooms.
d. Establishing that it is okay for them to play a few notes of warm-up prior to performing in each room will save time
in the audition process.
e. Student questions should be answered at this time.
f. Remind the students that they will meet in this same room after the auditions have been completed to receive their
scorecards and check the math to be certain we have accurate input in the tabulation room.
g. Students are dismissed to waiting area (halls).
7. Students may not play their instruments in the waiting area.
8. Audition Process
a. Auditions are "blind." Judges must have their backs to the students. Students are identified by audition number.
There shall be no conversation between judges and auditioning students. Judges may indicate when to begin
(“Student number 1428, you may have a brief warm up and then begin when you are ready”). DO NOT FACE THE
AUDITIONEES. DO NOT ENGAGE IN CONVERSATION WITH THE STUDENTS BEYOND “LOGISITICS.”
Students will audition on scales first.
b. Students enter the scale room in random order (they may audition when they choose), but follow the same order in
the solo rooms.
c. Orchestra sight-reading will be judged in the scale room (a separate room will be used for violins).
d. Students will then move to solo room #1, then to solo room #2.
9. Scoring Responsibilities
a. You must follow the descriptors on the "scoring guides" (winds, percussion, strings, scales, sight reading). Be
certain to have the correct scoring guide for what you are judging. PLEASE NOTE – A STUDENT ONLY EARNS
A ZERO (0) WHEN S/HE DOES NOT EVEN ATTEMPT TO PLAY THE SCALE/PASSAGE. IF THE
CORRECT SCALE OR PASSAGE IS ATTEMPTED, AT LEAST A ONE (1) WILL BE EARNED).
b. The tally sheets must be legible, signed and turned in to the chair at the end of you committees work. This is a vital
backup that has worked amazingly well to double check and recover information for tabulators, directors, and
students/parents in the past few years.
c. Print neatly on the scorecards. You must enter your scores on the tally sheet and then carefully transfer the scores to
the score sheet. Enter a score in every blank. Every blank must have a score – do not combine any scores.
d. You must enter your scores accurately on the appropriate tally sheet and the students’ scorecard. As students move
from room to room, scorecards are provided to the judges. Note: you may want to wait to enter scores on cards until
a few students have auditioned in order to “get a feel” for the process.
e. Please write in ink. If you make an error on the scorecard, please initial your correction.
f. Judges should use tenths when scoring. Please do not use hundredths or thousandths (When scores are averaged,
hundredths may result – this is O.K.).
g. Average the scores in each room; the chair or his/her designee will enter the Grand Total in the last room.
AVERAGE THE SCORES IN EACH ROOM. THE CHAIR SHOULD DOUBLE CHECK ALL AVERAGES AND
TOTALS. WRITE THE SUBTOTAL AVERAGES AND TOTAL/GRAND TOTAL ON THE SCORE CARDS.
You might want to use a calculator.
h. Cards are delivered to the tabulation room by student messenger or the chair. Please do not “hold” cards. Begin
sending cards to the tabulation room immediately.
10. Chairperson duties
a. Return the “Audition Material Selection” sheet to the tab room before beginning auditions.
b. Please mark the card of the final player in each section for tabulation committee.
c. Return the chairperson folder with all tally sheets to the tabulation room immediately following auditions.
d. When the final score from an audition section has been entered, a preliminary report is generated. CHAIRS must
pick up the preliminary reports in the tabulation room. Preliminary report and scorecards are returned to the
committee in order to check for errors. The scale score (band) or sight-reading score (orchestra) is used as a
tiebreaker. The committee members should compare the scorecards and report to insure that all scores were entered
correctly.
e. The committee chair should, whenever possible, be in charge of collecting scorecards and sending them to the
computer area, overseeing tabulation, and controlling flow of students from room to room. There will be student
runners available to assist committees.
11. The judging committee and the students meet as a group (usually ca. 1:00 p.m.). Scorecards are returned to students. Students
check scorecards for math errors. Any errors must be reported immediately to the committee. SCORE CORRECTIONS CAN
ONLY BE MADE WHEN THE STUDENTS ARE IN THE ROOM – ONCE A STUDENT LEAVES THE ROOM
CORRECTIONS WILL NOT BE MADE. All corrections are made on the preliminary report and returned to the tabulation
room. CHAIRS or their designee (an adult director) must return the preliminary report to the tabulation room. Necessary
corrections are made, and a final report is generated and posted. CHAIRS or their designee: PLEASE RETURN THE
PRELIMINARY REPORT –WHETHER OR NOT THERE ARE CORRECTIONS – PRIOR TO CONDUCTING
ORCHESTRA WIND AUDITIONS.
12. Orchestra Wind Auditions
a. Flute, Clarinet, and Trumpet committees: Students will audition for orchestra after the audition committee verifies
the Band audition results. Audition as many eligible students from upper and lower for orchestra as the orchestra is
accepting (i.e. if the orchestra is accepting 4 clarinets, audition the top 4 eligible clarinets from upper band auditions
and the top 4 eligible clarinets from lower band auditions). Chairs of upper and lower committees (and any other
volunteers or designated committee members) conduct orchestra wind; use the solo passages selected after morning
directors meeting. PLEASE USE FOUR JUDGES FOR ORCHESTRA WINDS AND PERCUSSION
AUDITIONS. WHENEVER POSSIBLE THERE MUST BE AN EQUAL NUMBER OF UPPER AND LOWER
JUDGES PRESENT. DO NOT USE MORE THAN FOUR JUDGES – the scoring system is not set-up to
accommodate more than four judges.
b. Combined upper and lower committees do not conduct these auditions; the results of the morning auditions will be
used for orchestra.
c. Wind and percussion students are eligible for orchestra only if they play in their school orchestra. If their school
does not have an orchestra and they want to audition for orchestra, they may do so. Students must be in grades 9-12
in order to audition for orchestra. Exceptions: euphonium, bass clarinet or other instrument that are usually not part
of an orchestra wind section.
13. Verified results will be posted in the director’s meeting room. DO NOT GO TO THE TABULATION ROOM TO GET
RESULTS.
14. Directors meet at the conclusion of auditions. All directors are required to stay until the auditions are completed.
15. Festival hosts distribute student folios/music and director packets after the directors meeting.
16. EQUAL REPRESENTATION Any school which does not place a student in the Band or Orchestra through the audition
process may place one student in the Band and/or one student in the string section of the Orchestra under “representation”
with the following guidelines. It is the school director’s responsibility to request that representation with the Audition Chair
before leaving Dallastown HS. The District 7 Festival Host is encouraged to accept those students as recommended by the
following panel: Audition Chair; District President; Festival Host Director; School Director. Audition rank should be strongly
considered in reaching the decision. These students are eligible to re-audition for regional Festivals. Requests do not
guarantee placement.
Last Thoughts
When in doubt, please call the tab room with questions – Don’t wait until it’s too late to fix the problem!
Above all, act professionally. Accusations are made every year by students and teachers regarding real or perceived inequities
in the audition process. Be cautious about conversations with other judges before and after students enter the room, facing
students, sitting in front of reflective surfaces, and talking to students.
District Band and Orchestra Audition Room Assignments
Basement Rooms 200's Rooms
11 210
15 212
5 214
18
215
Tabulation Room Library 217
219
100's
103 221
105 223
107 225
109 222
111 224
113 226
114 228
116 230
118 232
120 Strings
122 239
124 240
241
126 243
128
130 249
251
300's 255
303
305 207
307 208
209
309
311 259
313A 257
320
324
326
Bass
Upper Flutes
Upper Bb Clarinets
Oboes, Bassoons, Eb. Clar.
Violas
Cello
Alto Saxophones
Violins
Lower Flutes
Baritones, Bass Bone,
Alto Clarinet
French Horns
Lower Bb Clarinets
Lower Trumpets
Upper Trumpets
Tenor, Bari Sax, Bass Clarinets
Percussion
Tubas, Contra Clar.
Trombones
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PMEA District 7 Sight Reading Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Sight Reading- STRINGS (total of 20 points)
SIGHT READING
16-20 pitches are accurately performed throughout the excerpt
rhythms are accurately performed throughout the excerpt
articulations are accurately performed throughout the excerpt; precision and clarity of articulations demonstrate full awareness and control
dynamic and expression markings are accurately interpreted throughout the performance; range of dynamics/expression demonstrates full awareness and control
tempo and meter are accurate and consistent throughout the performance; no stopping or faltering
11-15 pitches are essentially accurate throughout the excerpt; isolated mistakes may occur
rhythms are essentially accurate throughout the excerpt; errors consist mainly in precision
knowledge of required articulations is evident in the performance; errors exist mainly in the area of precision and clarity, not in the basic articulations themselves
knowledge of dynamic and expression markings is evident in the performance; the range of dynamic expression may be limited
tempo and meter are essentially accurate and consistent throughout the performance; no stopping, few instances of faltering
6-10 accuracy of pitches is inconsistent; major errors are present in the performance
accuracy of rhythms is inconsistent; major errors are present in the performance
few articulations are performed accurately; precision and clarity are very limited
few dynamic or expression markings are performed accurately; attempts at a range of expression are very limited
tempo and meter are inconsistent and disjointed through the performance; a few stops and/or many instances of faltering are present
1-5 inaccuracy of pitches demonstrates a significant deficiency in sight reading
inaccuracy of rhythms demonstrates a significant deficiency in sight reading
little or no knowledge of written articulations is evident in the performance
little of no knowledge of written dynamic and expression markings is evident in the performance
performance indicates little or no attempt to play with consistent tempo and/or accurate meter; many stops and frequent faltering are present
PMEA District 7 Solo Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Strings Solo (total of 25 points)
TONE QUALITY
5 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers
4 tone quality is characteristic in most registers, but distorts in a few passages (occasional)
3 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)
2 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)
1 tone production is of a quality that hinders the performance
INTONATION
5 intonation is accurate in all ranges and registers
4 intonation is mostly accurate; the student adjusts the few problem pitches to an acceptable standard
3 intonation is somewhat accurate but includes out-of-tune notes; the student adjusts these pitches with some success
2 a basic sense of intonation is evident, yet major errors occur; student makes little attempt to adjust problem pitches
1 intonation is consistently inaccurate and hinders the quality of performance
RHYTHM
5 rhythms are accurate throughout the performance
4 rhythms are nearly accurate; some rhythms lack precise interpretation
3 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)
2 many rhythms performed incorrectly or inconsistently, major errors are present in the performance
1 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent
MUSICALITY
5 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo
4 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo
3 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident
2 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present
1 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent
TECHNIQUE
5 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations (timpani pitches are consistently accurate, tuning is executed correctly)
4 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance (timpani pitches are within an acceptable range of accuracy, tuning is executed acceptably)
3 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times (some timpani pitches are inaccurate, some flaws in tuning technique are evident)
2 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)
1 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage (timpani pitches are general unrecognizable, tuning technique is flawed and often detracts from the performance)
PMEA District 7 Scale Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Scale Scoring Guide (total of 10 points)
SCALES 9-10 pitches are accurately performed throughout the scale
rhythms are accurately performed throughout the scale and meet the stated requirement
articulations are performed with precision and clarity
tempo is accurate and meets or exceeds the stated requirement (no stopping or faltering)
intonation is accurate in all registers throughout the scale
tone is characteristic and consistent in all registers throughout the scale
7-8 pitches are accurately performed, isolated errors may be present
rhythms are essentially accurate and meet the stated requirement; a few errors may be present
articulations are essentially correct, a few errors may occur in precision and clarity
tempo is essentially accurate and meets or exceeds the stated requirement (minimal faltering, no stopping)
intonation is accurate, a few inconsistencies may occur in extreme ranges or registers
tone is essentially characteristic, a few inconsistencies may occur in extreme ranges or registers
5-6 pitch errors are present and affect the overall performance at times
rhythmic errors are present; the stated rhythmic requirement may not be clear
articulations are unclear in the performance; precision and clarity are limited
tempo is inconsistent throughout the performance (consistent faltering or occasional stopping)
inconsistencies in intonation are present in the scale, minimal effort to correct these errors is evident
tone exhibits some flaws in basic production; thin, harsh, forced, or unfocused sound is produced at times
3-4 accuracy of pitches is inconsistent; it is difficult to recognize the scale
many rhythmic errors are present; the stated rhythmic requirement is not clear
articulations are not recognizable in the performance; precision and clarity are not evident
tempo is inconsistent and disjointed throughout the performance (consistent faltering and stopping)
only basic intonation is evident; many errors occur and no effort to correct these errors is evident
tone exhibits significant flaws in basic production; thin harsh, forced, or unfocused sound is produced consistently
1-2 significant errors in pitches are present; the scale is essentially unrecognizable
rhythms are incorrect or unrecognizable; the stated rhythmic requirement is not clear
articulations are incorrect or unrecognizable
tempo is unrecognizable; the stated tempo requirement is not attempted
intonation is consistently inaccurate; no sense of tonality is present
tone production is consistently flawed; no characteristic tone is produced
PMEA District 7 Solo Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Woodwind/Brass Solo (total of 35 points)
TONE QUALITY
7-6 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers
5-4 tone quality is characteristic in most registers, but distorts in a few passages (occasional)
3 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)
2 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)
1 tone production is of a quality that hinders the performance
INTONATION 7-6 intonation is accurate in all ranges and registers
5-4 intonation is mostly accurate; the student adjusts the few problem pitches to an acceptable standard
3 intonation is somewhat accurate but includes out-of-tune notes; the student adjusts these pitches with some success
2 a basic sense of intonation is evident, yet major errors occur; student makes little attempt to adjust problem pitches
1 intonation is consistently inaccurate and hinders the quality of performance
RHYTHM
7-6 rhythms are accurate throughout the performance
5-4 rhythms are nearly accurate; some rhythms lack precise interpretation
3 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)
2 many rhythms performed incorrectly or inconsistently, major errors are present in the performance
1 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistent
MUSICALITY 7-6 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent
with the style of the solo
5-4 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo
3 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident
2 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present
1 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent
TECHNIQUE 7-6 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity
of pitches and articulations (timpani pitches are consistently accurate, tuning is executed correctly)
5-4 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance (timpani pitches are within an acceptable range of accuracy, tuning is executed acceptably)
3 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times (some timpani pitches are inaccurate, some flaws in tuning technique are evident)
2 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)
1 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage (timpani pitches are general unrecognizable, tuning technique is flawed and often detracts from the performance)
PMEA District 7 Solo Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Xylophone Solo (total of 80 points)
TONE QUALITY
17-20 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers
13-16 tone quality is characteristic in most registers, but distorts in a few passages (occasional)
9-12 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)
5-8 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)
1-4 tone production is of a quality that hinders the performance
RHYTHM
17-20 rhythms are accurate throughout the performance
13-16 rhythms are nearly accurate; some rhythms lack precise interpretation
9-12 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)
5-8 many rhythms performed incorrectly or inconsistently, major errors are present in the performance
1-4 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistsent
MUSICALITY
17-20 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo
13-16 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo
9-12 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident
5-8 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present
1-4 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent
TECHNIQUE
17-20 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations
13-16 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance
9-12 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times
5-8 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision
1-4 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage
PMEA District 7 Solo Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Battery Solo (total of 100 points)
TONE QUALITY
21-25 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers
16-20 tone quality is characteristic in most registers, but distorts in a few passages (occasional)
11-15 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)
6-10 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)
1-5 tone production is of a quality that hinders the performance
RHYTHM
21-25 rhythms are accurate throughout the performance
16-20 rhythms are nearly accurate; some rhythms lack precise interpretation
11-15 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)
6-10 many rhythms performed incorrectly or inconsistently, major errors are present in the performance
1-5 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistsent
MUSICALITY
21-25 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo
16-20 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo
11-15 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident
6-10 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present
1-5 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent
TECHNIQUE
21-25 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of articulation
16-20 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance
11-15 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times
6-10 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision
1-5 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage
PMEA District 7 Solo Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Snare Solo (total of 80 points)
TONE QUALITY
17-20 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers
13-16 tone quality is characteristic in most registers, but distorts in a few passages (occasional)
9-12 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)
5-8 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)
1-4 tone production is of a quality that hinders the performance
RHYTHM
17-20 rhythms are accurate throughout the performance
13-16 rhythms are nearly accurate; some rhythms lack precise interpretation
9-12 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)
5-8 many rhythms performed incorrectly or inconsistently, major errors are present in the performance
1-4 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistsent
MUSICALITY
17-20 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo
13-16 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo
9-12 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident
5-8 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present
1-4 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent
TECHNIQUE
17-20 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations
13-16 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance
9-12 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times
5-8 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)
1-4 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage
PMEA District 7 Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Snare Roll (total of 20 points)
LONG ROLL
17-20 roll is consistent throughout, consistent quality of sound from hand-to-hand, open roll is even and balanced, closed roll is even and full, seamless transition from open to closed to open, large degree of difference in and control of dynamic levels
13-16 roll is somewhat consistent throughout, quality of sound somewhat varied from hand-to-hand, open roll is somewhat uneven, closed roll is somewhat uneven and has holes in the sound, some difficulty in transition from open to closed to open, some degree of difference in and control of dynamic levels
9-12 roll is not very consistent throughout, quality of sound varies from hand-to-hand, open roll not even or balanced, closed roll uneven and has large holes in the sound, obvious difficulty in transition from open to closed to open, not much difference in and control of dynamic levels
5-8 roll has no consistency, quality of sound differs greatly from hand-to-hand, open roll very uneven and unbalanced, closed roll uneven and has large holes in the sound, tremendous difficulty in transitions from open to closed to open, no difference in or control of dynamic levels
1-4 long roll is completely unprepared
PMEA District 7 Solo Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Timpani Solo (total of 60 points)
TONE QUALITY
13-15 tone quality is full, rich, and characteristic of the tone quality of the instrument in all registers
10-12 tone quality is characteristic in most registers, but distorts in a few passages (occasional)
7-9 tone quality exhibits some flaws in production (i.e. slightly thin/unfocused or forced sound)
4-6 tone quality has several flaws in basic production (i.e. consistently thin/unfocused or forced sound)
1-3 tone production is of a quality that hinders the performance
RHYTHM
13-15 rhythms are accurate throughout the performance
10-12 rhythms are nearly accurate; some rhythms lack precise interpretation
7-9 most rhythm patterns are accurate, but errors in precision are present (approximation of written rhythms)
4-6 many rhythms performed incorrectly or inconsistently, major errors are present in the performance
1-3 rhythms are consistently performed incorrectly, clarity and precision are essentially nonexistsent
MUSICALITY
13-15 performance demonstrates full control of tempo, dynamics, phrasing, and expression in a dramatic performance consistent with the style of the solo
10-12 performance demonstrates some control of tempo, dynamics, phrasing, and expression in a performance often consistent with the style of the solo
7-9 performance demonstrates basic control of tempo, dynamics, phrasing, and expression; basic attempts at dramatic performance and basic knowledge of style are evident
4-6 some inconsistency in control of tempo, dynamics, phrasing, and expression is present; performance demonstrates little attempt at dramatic performance, many stylistic inconsistencies are present
1-3 lack of control of tempo, dynamics, phrasing, and expression hinders the performance; attempts at dramatic and/or stylistically correct performance are unsuccessful or nonexistent
TECHNIQUE
13-15 performance demonstrates complete mastery of the technical demands of the music, including: precision, facility, and clarity of pitches and articulations (timpani pitches are consistently accurate, tuning is executed correctly)
10-12 performance nearly demonstrates mastery of the technical demands of the music; minor inconsistencies in precision, facility, and clarity are isolated and rarely detract from the performance (timpani pitches are within an acceptable range of accuracy, tuning is executed acceptably)
7-9 most passages are handled with reasonable technical facility; some passages include incorrect or unclear pitches and/or articulations; precision and/or facility are questionable at times (some timpani pitches are inaccurate, some flaws in tuning technique are evident)
4-6 performance demonstrates basic knowledge of the technical demands of the music; consistent errors are made in pitch, articulation, facility, and precision (most timpani pitches are inaccurate, significant flaws in tuning technique are evident)
1-3 lack of accuracy of pitch, articulation, facility, and precision seriously hinders the performance; the student’s technique is not developed enough to attempt the solo passage (timpani pitches are general unrecognizable, tuning technique is flawed and often detracts from the performance)
PMEA District 7 Scoring Guide
District 7 Band and Orchestra Qualifying Auditions
Timpani Tuning/Roll (total of 40 points- 30 pts/tuning, 10 pts/fp roll)
TUNING
9-10 pitches are accurate, time limit meets or exceeds the stated requirement, tone is characteristic and clear in all registers, intonation is accurate, all intervals are correct
7-8 pitches are accurate (isolated errors may be present), time limit meets or exceeds the stated requirement, tone is essentially characteristic and clear (isolated errors may be present in extreme registers), intonation is accurate (isolated inaccuracies may be present), intervals are correct (isolated errors may be present)
5-6 pitch errors are present and affect the overall performance at times, time limit is exceeded in tuning process, tone exhibits some flaws in basic production (thin, harsh, forced, or unfocused sound is produced at times), inconsistencies in intonation are present, minimal effort to correct these errors is evident, interval errors are present and affect the overall performance at times
3-4 accuracy of pitches is inconsistent (it is difficult to recognize the interval), time limit is exceeded in tuning process, tone exhibits significant flaws in basic production (thin, harsh, forced, or unfocused sound is produced consistently), only basic intonation is evident (many errors occur and no effort to correct these errors is evident), most intervals are indistinct (many are unrecognizable)
1-2 significant errors in pitches are present (the scale/interval is essentially unrecognizable), time limit is exceeded in tuning process, tone production is consistently flawed (no characteristic tone is produced), intonation is consistently inaccurately (no sense of tonality is present intervallic relationships are unrecognizable)
fp Roll
9-10 roll is completely characteristic, includes strong forte attack with necessary pause to allow for attack to decay, entrance on crescendo is smooth and blended with decay of attack, crescendo is even hand-to-hand and does not pass the tone center of the instrument, decrescendo is even hand-to-hand and goes through all dynamic levels, roll is correctly played on the drum tuned to the Major third
7-8 roll is nearly characteristic, may include strong attack but pause for decay may not be long enough, crescendo is not completely even hand-to-hand and passes tone center of the instrument, decrescendo is somewhat uneven and does not display all of the proper dynamic levels, roll may or may not be played on correct drum
5-6 roll is somewhat characteristic, indications of a strong attack and pause for decay are present but not obvious, both crescendo and decrescendo have lapses in balance and are not even, roll may or may not be played on correct drum
3-4 roll is not very characteristic, no clear attack and decay at all, balance hand-to-hand and evenness of crescendo decrescendo are not evident, roll is played on incorrect drum
1-2 roll does not seem prepared at all
PMEA District 7 Band/Orchestra Auditions
Scale/Sight-Reading Tally Sheet- STRINGS
Student
Number
Scale 1
(10)
Scale 2
(10)
Scale 3
(10)
Total
(30)
Sight-Reading
(20)Comments
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Solo Tally Sheet- STRING
Student
Number
Tone
(5)
Intonation
(5)
Rhythm
(5)
Musicality
(5)
Technique
(5)
Total
(25)Comments
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Scale Tally Sheet- WIND/BRASS
Student
Number
Scale 1
(10)
Scale 2
(10)
Scale 3
(10)Total (30)
Student
Number
Scale 1
(10)
Scale 2
(10)
Scale 3
(10)Total (30)
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Solo Tally Sheet- WIND/BRASS
Student
Number
Tone
(7)
Intonation
(7)
Rhythm
(7)
Musicality
(7)
Technique
(7)
Total
(35)Comments
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Percussion Tally Sheet- XYLOPHONE
Student
Number
Tone
(20)
Rhythm
(20)
Musicality
(20)
Technique
(20)
Scale 1
(10)
Scale 2
(10)
Total
(100)Comments
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Percussion Tally Sheet- BATTERY
Student
Number
Tone
(25)
Rhythm
(25)
Musicality
(25)
Technique
(25)
Total
(100)Comments
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Percussion Tally Sheet- SNARE
Student
Number
Tone
(20)
Rhythm
(20)
Musicality
(20)
Technique
(20)
Long Roll
(20)
Total
(100)Comments
Judge Name: __________________________ Instrument: _______________________ Room #: ______________
PMEA District 7 Band/Orchestra Auditions
Percussion Tally Sheet- TIMPANI
Student
Number
Tone
(15)
Rhythm
(15)
Musicality
(15)
Technique
(15)
fp Roll
(10)
Tuning 23"
(10)
Tuning 26"
(10)
Tuning 29"
(10)
Total
(100)Comments
Judge Name: __________________________________________ Instrument: _________________________________ Room #: ____________________
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ORCHESTRA
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STUDENTS:Please tear off this top partbefore auditioning. Keep thetop part and give the bottompart to the assistant in the firstaudition room.
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Upper Percussion
PMEA District 7 Solo Scoring Guide District 7 Band and Orchestra Qualifying Auditions
Piccolo Audition Procedure
The audition chairs, in conjunction with the District 7 President, have developed the following procedure
for Piccolo auditions.
District Band piccolo player audition procedure:
1. Students interested in auditioning for the piccolo chair should bring both their flute and piccolo
to auditions.
2. Students will first audition on flute. Students will be selected for district band based upon their
flute audition.
3. Students who are selected for district band based upon their flute audition will have the
option to audition on piccolo.
4. Piccolo auditions will occur immediately following orchestral flute auditions and be evaluated by
the same judges.
5. All students who have qualified for district band and who wish to audition on piccolo should
report to the orchestra flute auditions.
6. A single piccolo audition excerpt will be selected from the District Band flute solo by the
Audition Repertoire Chair. The students will only be asked to play this excerpt; no scales will be
heard.
Auditions at the District Band Festival
1. Students will audition on both flute and piccolo at the District Band Festival.
2. The District Band piccolo folder will contain both flute and piccolo parts.
PMEA DISTRICT 7 TOTAL PERCUSSION AUDITION PROCEDURE AND REPERTOIRE
Students will audition in four separate rooms as defined below. Auditions will employ a “staggered start” with
an approximately equal number of students assigned to start in each room. Students will then rotate through all
four rooms until all parts of the audition have been completed.
All auditions will be combined – no upper/lower rooms. There will be (at least) two judges in each room.
Room 1: Xylophone (all students will use the xylophone provided by the audition host school)
Requirements:
1) two major scales, one sharp and one flat (all major scales will be required)
2) Kreisler/Green: Tambourine Chinois: beginning to the downbeat of m. 31
N.B. Appropriate mallet choice is the responsibility of the student
Room 2: Timpani
Requirements:
1) tune 29” drum to specific pitch (given at the audition) using pitch pipe or tuning fork (no electronic
tuners), then tune a major triad by ear with that note as its root (3rd on the 26” drum and 5th on the 23”)
2) play a fp cresc roll on the 26” drum – approx. 5 seconds
3) Hinger: Roll Off from Solos for the Virtuoso Timpanist
Room 3: Snare Drum
Requirements:
1) concert style roll, start pp-crescendo to ff-diminuendo to pp, approx. 30 seconds in duration
2) Cirone: Portraits in Rhythm #25
Room 4: Tambourine, Triangle, Cymbals
Requirements:
1) Will Rapp: Etude #1
(students must play the entire etude in tempo, including instrument switches, there is a specific length notated
for each transition)
EQUIPMENT RESTRICTIONS AND CONSIDERATIONS:
• Students must provide all snare drum sticks and xylophone mallets.
• Students may bring their own snare drum and accessory instruments but must use the timpani and
xylophone provided.
• All instruments (including triangle beater) will be provided in the event that students do not have access
to them.
Respectfully Submitted 5/1/2011
Richard Miller
Committee: Mark Alexander-Gray, Tony Brill, Steve Goss, Bob Maag, Rich Miller, Andy Williams, Rick Worley