AUDITIONS
(according to Webster’s Dictionary)
a performance by a musician to demonstrate ability or skill 

Returning TJS Members
Auditions for returning TJS members who feel they meet the technical requirements for the next orchestra up may be arranged for by calling for an appointment — 745-5830.   PLEASE do not show up for an audition without first scheduling your audition or without audition music which demonstrates your ability to meet the technical requirements well prepared. Audition days will be announced on The Latest News and by email. Generally, these days will be the two Saturdays preceeding the first rehearsal of the new semester. You must contact Mrs. Bourret at 745-5830, 465-1334 or by email at mrs.b4tjs@cox.net to reserve an audition time.

New Member Auditions
Players new to TJS wishing to enter a Sinfonia Orchestra do not need to audition. Call 745-5830 for a telephone interview regarding technical ability on the instrument. After placement, an audition is required to move to another orchestra.

Suggested Audition Repertoire
If you don't find your piece listed here, contact the Bourrets on eligibility.

Sinfonia III
Upon first entry to Tucson Junior Strings, a student should be able to read and recognize notes (by name), be able to play music with one sharp or one flat, and be able to count eighth notes, quarter notes, half notes, and dotted half notes.

Sinfonia II
Violins
Huber – Student’s Concertino in G, Op. 8
George Perlman – Concertino in a minor – 3rd movement only
O. Rieding - Op. 34, Concerto in G – 1st movement only
O. Rieding - Op. 35, Concerto in b minor – 3rd movement only
O. Rieding - Op. 36, Concerto in D Major – 1st movement only
Friedrich Seitz - Op. 13, Pupil’s Concerto No. 2 – 1st movement

Violas
From Solos for Young Violists of Barbara Barber, violist
    Franz Schubert - March Militaire, Op. 51, No. 1
    Moritz Moszkowski - Spanish Dance, Op. 12, No. 1
From Solo Time for Strings, Book 3 (orange book)
(These two pieces should be played together – one does 16th notes, the other does dotted quarter notes)
    Schubert - Ballet Music
    Handel - Classic March
From Solo Time for Strings, Book 4 (green book)
    Dancla - Bolero
    Mozart - Allegro
Suzuki Book 2
    3. Hunters Chorus
    5. Waltz (for dotted quarter notes)
    9. Gavotte from Mignon
    12. Boccherini Minuet
From the Mel Bay Presents The Student Violist
    J. S. Bach - Fughetta
    Bohm - Perpetual Motion No. 6
    Friedrich Seitz - Op. 13, Student Concerto No. 2 in C Major (for viola)

Cello and Bass
Reperatoire suggestions coming soon; please contact the Bourrets.

Sinfonia I
Violins
Bach – Concerto in a minor (1st mvmt)
Haydn – Concerto in G Major
Haydn – Serenade
Huber – Student Concertino, Op. 6, No. 2 in G
Kuchler – Concertino, Op. 12
Kuchler – Concertino in the Style of Vivaldi, Op. 15
Rameau-Kreisler - Tambourin
Rieding – Concertino in ungarischer Weise, Op. 21
Seitz – Pupil’s Concerto No. 3
Seitz – Pupil’s Concerto No. 4
Vivaldi – Concerto in a minor 1st movement
Vivaldi – Concerto in g minor

Violas
Dancla – Fantasia – La Cenerentola
Drigo – Valse Bluette
Haydn – Divertimento in D Major (Edited by Henri Elkan)
Mozart – Divertimento in C Major
Rameau - Rigaudon
Schubert - Sonatina No. 1 in D Major
Seitz – Pupil’s Concerto No. 3
Seitz – Pupil’s Concerto No. 4
Vivaldi – Concerto in d minor – 1st movement
Vivaldi – Concerto in e minor

Cello
Breval Goltermann – Concerto
Van Goens – Moto Perpetuo

Bass
Etude Numbers 8 or 9 by Francois Rabbath (book I)
 

Junior Chamber and Chamber II
New applicants for TJS membership in a Chamber orchestra must audition. Bring a piece of music to your audition which demonstrates your ability to meet the technical requirements as explained in Technical Requirements for each orchestra. 

We will hear an audition with only one qualifying audition piece (suggestions for each instrument are listed below), however, those who have already worked on the upper positions prior to this month and have begun preparation on two pieces for audition stand a better chance at success. One piece should show your ability at producing a beautiful tone, intonation, and vibrato; the other should contain going into 5th position in 16th notes at an allegro tempo (violins and violas) and into tenor clef with use of thumb position for cellos. Basses should also be able to play and read in the higher positions and also in tenor clef.

Call 745-5830 to schedule an appointment. 

Suggested Audition Repertoire
If you don't find your piece listed here, contact the Bourrets on eligibility.

Violins
Accolay - Concerto in a
Bach – Concerto in a (3rd mvmt)
Bach – Concerto in g (3rd mvmt)
Bach – Arioso (vibrato)
Bohm – Perpetuum Mobile, Op. 187 No. 4
Brahms – Waltz in A Major, Op. 39, No. 15
Bruch – Kol Nidrei
Mozart - Concerto in G
Nardini - Concerto in e minor
Rieding - Concertino, Op. 24
Rieding – Concertino Op. 25
Sitt – Student Concerto #3, Op. 110 (mvmts 1 or 3)
Vivaldi – Concerto in a minor, 3rd movement (non-Suzuki edition)

Violas
Accolay - Concerto in d minor
Bach – Concerto in c minor
Bach/Ries – Air and Gavotte
Bohm - Introduction and Polonaise
Dancla - Fantasia - La Cenerentola
Eccles – Sonata in g minor
Saint Saens – The Swan
Senaille – Allegro Spiritoso
Teleman - Concerto in G
Vivaldi - Concerto in d minor (3rd movement)

Cello
Reperatoire suggestions coming soon; please contact the Bourrets.

Bass
Etude Numbers 11-13 - Francois Rabbath (book II)
Etude Numbers 2, 9 - Storch-Hrabe

Chamber I
Chamber I is a limited membership orchestra. Auditions take place ONLY in September each year to fill vacancies. Once the Fall semester has begun, entrance to Chamber I is closed. See Technical Requirements for orchestra technical requirements. 

Suggested Audition Repertoire
If your piece is not listed here, contact the Bourrets to check on eligibility.
Scales of Mr. B's choosing and sight-reading.

Violins
Beethoven - Romance in F
Bloch - Suite Hebraique; Rapsodie (good for vibrato demonstration)
Bruch - g minor; all movements are good (2nd movement good for vibrato demo)
Kreisler - Praeludium and Allegro
Lalo - Symphonie Espagnole; all movements are good - 4th movement good for vibrato demo
Massanet - Meditation from "Thais" (good for vibrato demonstration)
Mendelssohn - concerto in e; all movements
Mozart - Concertos in D Major and A Major; all movements
Viotti - Concerto #20, 21, 22

Violas
J C Bach - Concerto in c minor - all movements (2nd movement - good vibrato and intonation piece)
Bloch - Suite Hebraique (Rapsodie) - good vibrato piece
Bruch - Romanze Handel - Concerto in b minor
Hoffmeister - Concerto in D
Kreisler - Praeludium and Allegro (praeludium good vibrato piece)
Stamitz - Concerto in D

Cellos
J C Bach - Concerto in c minor
Boccherini - Concerto in b minor
Bruch - Kol Nidrei (good vibrato piece)
Faure - Apres un Reve (good vibrato piece)
Faure - Elegy (good vibrato piece)
Haydn - Concerto in C
Lalo - Concerto Saint-Saens - Concerto
Saint- Saens - Allegro Appassionato
Saint-Saens - Swan (good vibrato piece)

Basses
Concerto with 16th notes at an allegro tempo, and a piece demonstrating tone and vibrato. You should be able to demonstrate the ability to read tenor clef and a bit of treble clef.
Etude Numbers 15, 16, 20, 21 - Francois Rabbath (book II)
Seven Baroque Sonatas Transcribed for Double Bass
Sonata in G Minor- Eccles
Bass Concerto - Capuzzi
Concerto in A minor- Vivaldi
Sonata No. 2- J.S. Bach

What you need to know about auditions

Auditions are a needed part of your instrumental training.  If you are intending to pursue a study of your instrument (whether professionally or as an avocation) you will be asked to play an audition many times during your playing career. 

How does one prepare for an audition?  During your TJS years, once you have attained your placement within an orchestra, it’s generally a very good idea to start learning the skills for the next orchestra up.  It’s generally a very good idea to remain within a level for a minimum of one semester, preferably for one year, to master the skills offered at that level. 

Hopefully you won’t wait until two weeks before the auditions and say, “gee, I’d like to move up. I’d better learn how to play in XXX position now so I can call for an audition!.”  More likely than not, because you’ve not really learned to master the new material, you will not be able to audition successfully. If you’re a good faker and get in, you could be “over your head” when you play in the new orchestra, won’t play with confidence, and will not be an asset to the orchestra.
 

For more information regarding your audtion,  please read “Taking an Audition” by Dennis R. Bourret, Director of Tucson Jr. Strings.