DOCSLIB.ORG

Audition Preparation Tips Since We Do Not Know Which Group You Will Be

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audition Preparation Tips Since We Do Not Know Which Group You Will Be Audition Preparation Tips Since we do not know which group you will be placed in until you perform an audition during your first morning on campus, we are unable to send you the concert music in advance. There is a span of less than 48 hours from the first orchestral rehearsal on Friday, where you see the music for the first time, until the final concert on Sunday. Sight-reading skills are an important component of each group’s success. That is why we have changed the audition process to focus on and assess your ability to sight-read accurately. Sight-reading is a crucial skill which encompasses many aspects of your musicianship. It is valuable to develop the ability to quickly and accurately understand and assimilate the varied information indicated in musical notation including pitches, rhythms, tempos, dynamics and articulation. As with any audition, judges can also assess your technique, tone, intonation, and musicality through sight-reading. You may normally perform much more difficult music than the sight-reading excerpts you see on the stand for auditions. Of course the weeks and months of study and practice you have spent learning that difficult music, and the technical skills you have gained from that experience, will serve you well when you are sight-reading in your audition. You can practice sight-reading before the audition! The more you challenge yourself by playing music you have never seen before, the better you will get at sight-reading. Here are a few tips to help you practice this skill. Before beginning to play look over the music and take note of the following things: Time Signature (4/4, ¾, cut time etc.) Key Signature (how many sharps or flats) Dynamic indications (piano, forte, crescendo etc.) Tempo Indications (Allegro, Adagio, etc. as well as metronome markings) Articulations (slurs, staccatos, accents etc.) Take a few moments before you begin in order to establish a clear pulse in your head. When you begin to play, stick to that tempo as much as possible. Force yourself to continue moving forward no matter what. Do not stop, circle back or restart any passage. Keep the steady pulse going from beginning to end. A metronome can be an enormous help in establishing and maintaining pulse but eventually you also should practice internalizing the pulse without a metronome. Begin with simple music, perhaps hymns from church or passages from a beginning method book that are unfamiliar to you. Practice staying steady within a moderate tempo and use music with rhythms no faster than a quarter note. Incorporate pieces with eighths, sixteenths and triplets as you develop confidence. .
Load more

Recommended publications
  • A Guide to the Global Graphic Score Project Contents Introduction 2
    A guide to the Global Graphic Score Project Contents Introduction 2 A guide to graphic scores 3 Composing a graphic score 5 Performing a graphic score 6 Global Graphic Score Project | School of Noise 1 Introduction What is it? The Global Graphic Score Project by the School of Noise (in partnership with Alexandra Palace) aims to bring together people from around the world using sound and art. Whatever your age, location or musical or artistic skill level, you are invited to take part in this worldwide experimental sound art collaboration. We would like to encourage people who have never met to be inspired by each other’s artwork to create new sounds and pieces of music. Together we can create a unique collection of beautiful graphic scores and experimental pieces of music. How does it work? • Individuals or groups of people design and upload their graphic scores. • People view the online gallery of graphic scores and select one to download. • These scores are performed and turned into music and sound art pieces. • Recordings are made and loaded to our website for other people to listen to. You can choose to be the composer or the performer. Or maybe try doing both! What next? The next few pages will explain what graphic scores are, provide you with ideas on how to make one, and suggest ways you can turn a graphic score into music. We hope that you have lots of fun creating and performing these graphic scores. Final notes This activity can take place anywhere and you don’t have to have real musical instruments available.
    [Show full text]
  • TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
    TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below.
    [Show full text]
  • User Manual ROCS Show|Ready User Manual © 2015 - Right on Cue Services
    User Manual ROCS Show|Ready User Manual © 2015 - Right On Cue Services. All Rights Reserved Jonathan Pace, David McDougal, Dave McDougal Jr., Jameson McDougal, Andrew Pulley, Jeremy Showgren, Frank Davis, Chris Hales, John Schmidt, Woody Thrower Documentation written by Andrew Pulley. ROCS Show|Ready Build 1.2.5-build-42 REV A Right On Cue Services 4626 N 300 W - Suite 180 801-960-1111 [email protected] 10 9 8 7 6 5 4 3 2 1 Show|Ready User Manual | III Contents 1 Downloading your Licensed Show 1 Upon Starting the Program . 1 Cast Authorization . 1 Director Authorization . 1 2 Introduction to Show|Ready 2 The Interface - Main Window . 2 Transport . 3 Temporary Editing . 4 Song List . 4 Timeline . 5 Marker List . 6 Mixer . 6 Change Log . 7 The Interface - Score View . 8 3 Navigation and Editing 9 Navigation . 9 Go to Bar . 9 Pre Roll . 9 Escape Vamps and Caesuras, and Jump with Fermatas . 9 Editing . 10 Timeline Selection . 10 Making Cuts and Adding Fermatas . 10 Vamps, Repeats, Transpositions, Markers, and Click Resolution . 11 Sending changes to the cast . 11 Returning to Previous Change Logs . 11 iv | Table of Contents High-Resolution Editing . 11 4 Keyboard Shortcuts 12 Mac . 12 Windows . 12 5 Frequently Asked Questions 13 Show|Ready User Manual | 1 Downloading your Licensed Show 1Thank you for using Show|Ready. We’ve worked the dialog box labeled, “Cast Member Authorization tirelessly for the past several years developing the Code,” and click, “Activate Show.” The show will then technology you are using today, and taken even more begin to download and open to the main window.
    [Show full text]
  • Study Guid E
    Year: 5 Subject: Music Unit of Study: Air Linked Literature: Lives of Musicians by Kathleen Krull / The Story of the Orchestra by Meredith Hamilton Rhythm—reading and India— Pitch—comparison Rhythm—composing Musical chronology Air composition notating Pulse and rhythm through songs within structures Vocabulary I need to know: I need to do: Prior knowledge/skills: Bristol is famous for its mastery of air—hot air balloons and Use voices and instruments to play Refers to the volume of a sound or Explore dynamics through singing, dynamics solo and ensemble with increasing note Concorde - so this unit celebrates that, alongside flight in nature. listening and performing music Through listening to songs and musical compositions, as well as sounds Explore pitch through listening, accuracy , fluency, control and pitch How high or low a note is expression in the environment, we are able to explore and identify the different graphic score study, composing and effects created by pitch, tempo and dynamics. Also, we can reflect on Begin to improvise and compose tempo Musical word for speed performing the feelings that these compositions evoke so that we can intentionally music compose pieces of music that suit the purpose for our work. To be able Explore tempo through listening, Listen with increasing attention to A method used to compose a discussion, conducting and singing graphic score piece of music without using com- to remember their compositions, composers use musical notations, music and recall sounds with mon music notation which can be the commonly recognised method (shown below) or Composing short pieces and noting increasing aural memory graphic score notation.
    [Show full text]
  • Empress Tremolo Manual
    tremolo user manual Introduction The Empress Tremolo is an original design built from the ground up to include innovative features without sacrificing tone. The audio signal path is analog, but the tremolo effect is controlled digitally via opto technology. We’ve included features never before seen on a tremolo, including tap tempo and rhythm features, that expand upon the basic effect increasing its functionality and ease of use. To help you get the most out of this product, we’ve put some brief instructional videos on our website: www.empresseffects.com Enjoy, Steve Bragg Quickstart Plug your guitar into the jack on the right side. Plug your amplifier into the jack on the left side. Set the mode switch to “tap tempo” and set the waveform switch to “tube”. Set depth to half, rate to 1:2, rhythm to 1 (all the way counterclockwise), and gain to one half. Now tap the tempo you would like using the tap stomp switch. There’s your standard tremolo. Normal Mode: The rate of the tremolo is controlled by the Controls at a Glance rate knob. Tap Tempo Mode: The rate of the tremolo is set by taping Power: + 9V DC negative on the tap stompswitch twice. The ratio of foot taps to tip 2.1mm jack. 30mA or greater tremolo pulses is set by the rate/ratio knob. The tremolo averages the last 4 intervals tapped, so to get the most accurate tap tempo, tap the tap stompswitch 5 times. Two Speed Mode: There are two separate tremolo rates that can be chosen from.
    [Show full text]
  • Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
    SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick.
    [Show full text]
  • Problems of Tempo in Puccini's Operas
    Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances.
    [Show full text]
  • Key Signatures Meters Tempo Clefs and Transpositions Position Work
    The composition criteria for MSHSAA sight reading selections were revised in 2013-14. As a result, the committee determined that it would be beneficial to music directors throughout the state to have this criterion available to assist in preparations for sight reading. With this information in hand, directors will have a better understanding of the difficulty of the selection that will be used and will know what to expect in regard to rhythms, ranges, time signatures, etc. Key Signatures Key Signatures will be limited to the following: C, G, D, F, Bb major and relative natural minors. There should be at least one key signature change per piece. Meters Meters will be limited to the following: 2/4, 3/4, 4/4, Cut Time, 6/8 Tempo Tempi will be no slower than 72 beats per minute and no faster than 120 beats per minute. For continuous pieces, there will be at least one tempo change, but no more than two. Clefs and Transpositions Viola can have limited use of treble clef. Cello can have limited use of tenor clef. Position Work for Strings 3rd position and minimal use of 5th position may be used in the violin 1 part only. Minimal 3rd position work may be used in the violin 2 and viola parts. Half, 2nd, 3rd and 4th position work may be used in the cello part. Half position to the fourth position work may be used in the bass part. Divisi Limited use of divisi parts may be written. Repeats 1st and 2nd endings may be used.
    [Show full text]
  • Numbers and Tempo: 1630-1800 Beverly Jerold
    Performance Practice Review Volume 17 | Number 1 Article 4 Numbers and Tempo: 1630-1800 Beverly Jerold Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Jerold, Beverly (2012) "Numbers and Tempo: 1630-1800," Performance Practice Review: Vol. 17: No. 1, Article 4. DOI: 10.5642/ perfpr.201217.01.04 Available at: http://scholarship.claremont.edu/ppr/vol17/iss1/4 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Numbers and Tempo: 1630-1800 Beverly Jerold Copyright © 2012 Claremont Graduate University Ever since antiquity, the human species has been drawn to numbers. In music, for example, numbers seem to be tangible when compared to the language in early musical texts, which may have a different meaning for us than it did for them. But numbers, too, may be misleading. For measuring time, we have electronic metronomes and scientific instruments of great precision, but in the time frame 1630-1800 a few scientists had pendulums, while the wealthy owned watches and clocks of varying accuracy. Their standards were not our standards, for they lacked the advantages of our technology. How could they have achieved the extremely rapid tempos that many today have attributed to them? Before discussing the numbers in sources thought to support these tempos, let us consider three factors related to technology: 1) The incalculable value of the unconscious training in every aspect of music that we gain from recordings.
    [Show full text]
  • 5Th Grade Music Vocabulary
    5th Grade Music Vocabulary 1st Trimester: Rhythm Beat: the steady pulse in music. Note: a symbol used to indicate a musical tone and designated period of time. Whole Note: note that lasts four beats w Half Note: note that lasts two beats 1/2 of a whole note) h h ( Quarter Note: note that lasts one beat 1/4 of a whole note) qq ( Eighth Note: note that lasts half a beat 1/8 of a whole note) e e( A pair of eighth notes equals one beat ry ry Sixteenth Note: note that lasts one fourth of a beat - 1/16 of a whole note) s s( a group of 4 sixteenth notes equals one beat dffg Rest: a symbol that is used to mark silence for a specific amount of time. Each note has a rest that corresponds to its name and how long it lasts: Q = 1 = q = 2 = h = 4 = w H W Rhythm: patterns of long and short sounds and silences. Syncopation: a rhythm pattern in which the accent is shifted from the strong beat to weak beats or weak parts of beats e q e Dotted Notes: a dot to the right of any note adds half of the note’s value. For example, a half note, h is normally worth two beats. When it is dotted, h. it is worth three beats. 2 + 1 = 3 2nd Trimester: Timbre/Tone Color Ensemble: a group of singers or instrumentalists performing together. Band: an instrumental ensemble, that consists of woodwind, brass, and percussion instruments, with no string instruments.
    [Show full text]
  • Rhythm and Meter
    Theory 3 Dr. Crist Rhythm and Meter Rhythm - the organization of the time element in music. Meter - The groupiongs of beats into larger units. The listener perceives the beat type by listening to the manner in which the beat divides. The meter type is determined by the pattern of accents. In much 20th century music, the music is composed in a way that the perception of beat type or meter type is not possible. In some instances, there may be a contradiction between what the listener hears and what is actually notated. I. Syncopation - Accenting a portion of a measure that is not normally accented. II. Changing Meters (Mixed Meter) - May be implied by shifting accents and/or syncopations or may be explicitly notated by the composer. III. Symmetrical and Asymmetrical Meter - A symmetrical meter consists of beats of the same size. For instance, all the beats in 4/4 are of equal size (1 quarter note). In 6/8 meter, the beat sizes are also equal (the dotted quarter note). However, 5/8 has two beat sizes. The first a quarter note, the second a dotted quarter note. 5/8 is therefore said to be asymmetrical because one of its beats is larger than the other. Symmetrical Meters Asymmetrical Meters IV. Additive Rhythm - A meter signature where a short rhythmic value remains contant but is used in groups of varying lengths. Some examples appear below: A more traditional meter may be transformed into an additive rhythm meter through use of a nonstandard metric accent. For example, the metric accent for a 9/8 meter (traditionally 3+3+3) may be reorganized to become 3+2+4.
    [Show full text]
  • Pipeline Tap Tremolo
    Product Information Document Stompboxes PIPELINE TAP TREMOLO Ingenious Tap Tempo Tremolo with Sequencer, Subdivisions and TonePrints* For Both Vintage and Adventurous Tremolo Sounds ## Top-notch and innovative tremolo pedal offers customizable classic and edgy tremolo tones ## Choose from 7 different singular or combined subdivisions to custom With PIPELINE TAP TREMOLO at tailor your waves your feet, you have access to the ## Adjust up to 4 different warm, organic sounding sinus subdivisions in sequence to create cool rhythmic patterns curves of the ’60s, the jagged edge ## Vintage mode offers carefully rotor blade clippings reminiscent of sculpted American-style helicopter landings, and everything amp-tremolo in between. Whether you are ## Square mode produces a hard looking for a classic surf sound tremolo for more aggressive and modern sounds or the syrupy wobble of the ## TonePrint-enabled to let you beam Motown era, the Vintage mode cool signature tones into your pedal has got you covered, while the with the free TonePrint App Square mode yields a more aggressive and edgy modern sound. ## Design your own customized Of course, you can always use the TonePrint mode to custom tailor tremolo effects from scratch with free TonePrint Editor for PIPELINE TAP TREMOLO – and make your own waves! PC, Mac* and iPad* ## Intuitive controls featuring Speed, Depth, Volume, Subdivisions and toggle switch between modes ## Tap tempo control to keep your Surf ‘N’ Turf tremolo effects right on the beat Need a tremolo that will fit with your classic ## True bypass allows for optimum surf-rock gig and your modern hard rock outfit clarity and zero high-end loss when without losing a step? PIPELINE lets you serve the pedal is off up vintage Dick Dale-esque surf sounds of the ## 3-Year Warranty Program* ’60s by day, and the meaty cuts of an industrial slaughterhouse by night.
    [Show full text]