Audition Requirements: Jazz
Winds: Saxophone, Trumpet, Trombone
Perform at least one prepared piece (melody and improvisation) of your choice from the recommended repertoire below, as well as improvise on a blues in the concert key of Bb, F, or C. In addition, you will be asked to perform major scales and sight-read a short jazz excerpt.
Repertoire: Any blues by Charlie Parker (e.g., Now's the Time), Tenor Madness/Rollins, Blue Monk/Monk, Satin Doll/Ellington, Maiden Voyage/Hancock, Pent-Up House/Rollins, Take the A Train/Ellington, Summertime/Gershwin
Be able to play (melody and improvisation) two prepared pieces of contrasting style and improvise on a blues progression in the concert key of Bb, F, or C. In addition, you will be asked to perform major and minor scales, arpeggios, and to sight-read grand staff and chord charts.
Autumn Leaves, Blue Monk, Impressions, Maiden Voyage, Now's The Time, Satin Doll, Take the 'A' Train, Summertime
Jazz Bass applicants are required to demonstrate skills in a variety of styles including walking bass, latin/bossa nova, funk, and rock. Reading standard music notation is mandatory.
- Walking bass over standard blues changes in F, C, and G major.
- Play melody to Billies Bounce (parker) or Tenor Madness (rollins).
- Play bossa nova bassline over Blue Bossa (dorham)
- Play selection of auditioners choice.
Applicants must be prepared to perform the following:
- Play (with correct melody, chord changes and improvisation) at least one prepared piece (of your choice, from the recommended repertoire)
- Improvise on a jazz blues progression in the concert key of Bb, F, or C
- Play selected major and minor scales in two octaves
- Sight-read intermediate level music.
Autumn Leaves, Blue Monk, Blue Bossa, Maiden Voyage, Now's The Time, Satin Doll, Take the 'A'
Train, Summertime, Tenor Madness
At your audition, you will demonstrate the following:
- Knowledge of the jazz idiom, traditional and modern, at various tempos
- Proficiency in the rock, funk, and fusion styles
- Familiarity with Afro-Caribbean, Brazilian, and world styles
- Soloing in various settings: trading fours, filling, and improvising over an ostinato
- Chart reading in various styles
"Progressive Steps to Syncopation" by Ted Reed, "The All American Drummer" by Charles Wilcoxon, "Creative Coordination" by Keith Copeland, "The Art of Bop Drumming" by John Riley, "Beginning Chart Reading" by Gil Graham