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AUDITION
INFORMATION | GOALS
| GRADING | DRESS CODE | SCHEDULE
| ROTATION PLAN | LIST OF ENSEMBLES
MUSE
101 INSTRUMENTAL ENSEMBLE
2:10-5:00. MWF
Instrumental Rehearsal Hall
Professor Robin Fountain robin.fountain@vanderbilt.edu
Professor Thomas Verrier thomas.verrier@vanderbilt.edu
Instrumental
Ensembles at the Blair School of Music: At the Blair School of Music, a
rotation system for instrumental ensembles provides students with a wide
range of experiences within a single semester without an exorbitant amount
of rehearsal time each week. Orchestra, String Orchestra, Chamber Orchestra,
and Opera/Oratorio Orchestra, as well as Wind Symphony, Concert Winds,
Chamber Winds, and Contemporary Ensemble are rolled into one "instrumental
ensemble" course that encompasses the same amount of contact hours per
semester as one conventional ensemble. Woodwind, brass, percussion, and
string students enroll in one course, MUSE 101: Instrumental Ensemble,
which is team-taught by the conductors and has a single syllabus and set
of grading criteria. Participation in this course is outlined below.
GOALS
The Instrumental
Ensemble Program is designed to work toward four goals:
- Development
of student's skills as ensemble players, (concentration, listening,
instantaneous adjustment, breathing, following the conductor's visual
and verbal instructions, retention of information over the span of a
rehearsal sequence).
- Development
of student's professional habits and ethics, (preparation, promptness,
mutual support).
- Development
of student's knowledge of the orchestra repertoire and of a range of
appropriate playing styles.
- Development
of an ensemble whose performances invariably exhibit a very high level
of competence and artistry.
GRADING
Grading is designed to encourage students toward these goals. Good grades
are not given, but are earned through careful adherence to the following
ensemble policies:
- Students are expected to attend every rehearsal of every piece for which they have an assigned part.
- Students are expected be in the rehearsal space a minimum of five minutes prior to the scheduled rehearsal start time of any piece to which they have been assigned.
- Students are expected to concentrate during rehearsals and to support each other's playing.
- Students are expected to become familiar - recordings are on reserve in the library- with all assigned material before the first rehearsal of that work.
- Students are expected to be fully prepared, (correct pitch, rhythm, tempo, bowing, breathing, good tone) for each work by the assessment date indicated for that work in bold type on the schedule. From that date onward, students may be asked to play alone or in small groups during rehearsal, to determine preparedness. Students requiring individual assistance to assure preparedness should sign up for a scheduled coaching time prior to the assessment date. Students are also encouraged to seek preparation assistance from their instrumental teachers, and/or fellow students (this would in no way violate the VU Honor Code).
- Sectionals outside of class time may be determined necessary by section leaders. In such cases it is the responsibility of the section leader to establish a time at which all members are available, and to book a suitable room. It is the responsibility of the section members to attend.
- Students
are expected to honor the Ensemble Dress Code
at all performances
Should the instructor
feel that a particular student is inadequately prepared, or failing to adhere
to other ensemble policies, the student will be informed immediately via
email, and asked to explain why their grade should not be negatively impacted.
The student will be given a time period within which to demonstrate full
preparedness or policy compliance, for partial restoration of grade level.
Each student will participate in four ensemble segments during the course
of the semester, with a grade for each segment assessed by the conductor
of that segment. The student's final grade will be an average of these four
grades. No M grades can be given for this class.
INSTRUMENTAL ENSEMBLE AUDITION INFORMATION
All students, whether new or returning, may sign up for any available time on any of the appropriate audition times.
Audition Dates:
Monday, August 25, 2008
Tuesday, August 26, 2008
Wednesday, August 27, 2008
Audition signup sheets will be posted on the door of the Instrumental Rehearsal Hall at the Blair School of Music a few days before the auditions begin.
AUDITION REQUIREMENTS
FLUTE
From: Orchestral Excerpts for Flute, (Jeanne Baxtresser), Theodore Presser
Bizet Minuet from L'Arlesienne, p. 7
Mendelssohn Italian Symphony, Mvt. IV, p. 22
OBOE
Mendelssohn Symphony #3, Mvt. II, m. 32 -- 46*
Mozart Cosi fan Tutte Overture, Andante*
CLARINET
Beethoven Symphony #4, Adagio, m. 81-89*
Mendelssohn Symphony #3, Mvt. II, m. 1 -- 97*
BASSOON
Mozart Die Zauberflote (Magic Flute) Overture, m 27 -- 53*
Rimsky Korsakov Scheherazade, Mvt. II, m. 5 -- letter A*
FRENCH HORN
From: www.hornexcerpts.org
Strauss Don Quixote, rehearsal 8 -- 12, 1st horn
Beethoven Symphony #3, Mvt. III Trio, 1st Horn
TRUMPET
From: Top 50 Orchestra Audition Excerpts for Trumpet (Philip Norris) Crown Music Press:
Copland Outdoor Overture, solo at bottom p. 19, trumpet in Bb
Strauss Don Quixote, 1st trumpet part in F, p. 82
TROMBONE
Berlioz Hungarian March from The Damnation of Faust, m. 94 -- 111*
Schumann Symphony #3, Mvt. IV, m. 1 - 8*
BASS TROMBONE
Berlioz Hungarian March from The Damnation of Faust, m. 94 -- 111*
Rossini William Tell Overture m. 92 -- 123*
TUBA
Berlioz Symphonie Fantastique, Mvt. IV, letter L -- m. 155*
Berlioz Symphonie Fantastique, Mvt. V, m. 477 - end*
EUPHONIUM
From: Arban's Famous Method, available at Shattinger Music
Arban Variations on Norma (Introduction, Theme and Variation 1)
ALTO SAXOPHONE
From: The Orchestral Saxophonist (Ronkin, Frascotti), available at Shattinger Music
Milhaud La Creation du Monde (Beginning - #5, #12 --#20)
TENOR SAXOPHONE
From: The Orchestra Saxophonist (see above)
Ravel Bolero, all
BARITONE SAXOPHONE
From: The Orchestral Saxophonist (see above)
Grainger British Folk Music Settings No. 12, "Green Bushes" #106 to end of page.
VIOLIN
Mozart Symphony #39, second mvt. m. 1 - 8 and finale m. 1 -- 79
VIOLA
From: Orchestral Excerpts for the Viola (Vieland) International Music Co.
Shostakovich Symphony #5, p44: Moderato, lines 4 and 5, slow tutti starting on F#
Tchaikovsky Serenade, p25: Valse moderato, lines 1 -- 5
CELLO
Brahms Symphony #2, opening solo of the slow movement*
Beethoven Symphony #5, 3rd. Mvt.*
BASS
From: Zimmerman Complete Parts, available at www.lemurmusic.com
Beethoven Symphony #5, 3rd. Mvt.
Beethoven Symphony #9, recitatives from Mvt. IV
PERCUSSION
From: Modern School for Snare Drum (Morris Goldenberg) Etude in 5/4, p. 64
From: Modern School for Xylophone, Marimba and Vibraphone (Goldenberg) p. 27
From: Modern Method for Tympani (Saul Goodman)p. 49, exercise 34
HARP
From: A Guidebook for the Orchestral Harpist, Sarah Bullen (Vanderbilt Music Company)
Verdi La Forza del Destino, G -- H
Mahler Symphony #5 Adagietto
*Where possible, the conductors have indicated excerpt books used in the studio. If no excerpt book is indicated, individual parts may be obtained from:
http://www.lucksmusic.net/cat-symph/cat-symph.asp
ENSEMBLE
DRESS CODE
Men -- black tux, white tux shirt with wing collar and 1/4 inch pleats,
standard sized black bow tie, black studs with gold rims, black socks,
black shoes.
Women -- conservative ankle length black dress or black skirt (no slits)
and black blouse with long sleeves, black hose, closed-toe black shoes.
SCHEDULE
- There
are three (3) concert rotations per semester; each rotation is four
weeks in length.The scheduled
block of time for the course (2:10-5:00 PM-Monday/Wednesday/Friday)
is divided into two (2) rehearsal periods, during which two
distinct ensembles can rehearse simultaneously (utilizing both the IRH
and Turner). Rehearsal periods are as follows:
Period 1 = 2:20-3:50 PM
Break
Period 2 = 4:10-4:55 PMDuring
each rotation cycle, there are up to four (4) different "ensembles"
rehearsing (see rotation schedule).Every
student participates in four (4) of the ensembles per semester.Participation
in each ensemble entails a set of services:
Maximum of 12 regular rehearsals
+ dress rehearsal(s) and performance(s).A student
will perform in two different ensembles (making it necessary to attend
both Period 1 and 2) during one (and only one) rotation period each
semester.
- Student
placements are assigned by the conductors.
Ensemble
Rotation Schedule (2-semester plan)
| FALL
SEMESTER: |
Instrumental
Rehearsal Hall |
Turner
Hall |
Rotation #1
|
Period
1 (2:20-3:50 PM) |
Wind
Symphony |
|
| Period
2 (4:10-4:55 PM) |
Orchestra |
Chamber
Winds |
Rotation
#2 |
Period
1 (2:20-3:50 PM) |
Wind
Symphony (enlarged) |
String
Orchestra |
| Period
2 (4:10-4:55 PM) |
Chamber
Orchestra |
Wind/Percussion
Coaching |
Rotation
#3 |
Period
1 (2:20-3:50 PM) |
Orchestra |
Concert
Winds |
| Period
2 (4:10-4:55 PM) |
Contemporary
Ensemble |
Opera/Oratorio
Orchestra |
| SPRING
SEMESTER: |
Instrumental
Rehearsal Hall |
Turner
Hall |
Rotation #1
|
Period
1 (2:20-3:50 PM) |
Orchestra |
Chamber
Winds |
| Period
2 (4:10-4:55 PM) |
Wind
Symphony |
|
Rotation
#2 |
Period
1 (2:20-3:50 PM) |
Orchestra |
Concert
Winds |
| Period
2 (4:10-4:55 PM) |
Wind
Symphony (enlarged) |
String
Orchestra |
Rotation
#3 |
Period
1 (2:20-3:50 PM) |
Orchestra
(enlarged winds) |
|
| Period
2 (4:10-4:55 PM) |
Concert
Winds |
Contemporary
Ensemble |
Below is
a complete list of the ensembles encompassed in the rotation plan of MUSE
101:
ORCHESTRAS:
The Vanderbilt
Orchestra focuses on the highest quality performance
of the great classical and romantic orchestra repertoire. Students
become immersed in the stylistic demands of particular composers
and periods, while honing their skills as ensemble players.
The Vanderbilt
Chamber Orchestra is a highly select ensemble comprised of the finest instrumentalists at Vanderbilt University.
It prepares and performs a very demanding repertoire drawn eclectically from a wide range of periods and styles.
The Vanderbilt
String Orchestra explores the rich treasury of compositions for strings alone, and allows a period for exclusive concentration on questions pertaining to string ensemble playing.
The Vanderbilt
Opera/Oratorio Orchestra provides an opportunity for students to learn the important art of vocal accompaniment through collaboration with the Vocal Department in Vanderbilt opera and oratorio productions.
WIND
ENSEMBLES:
The Vanderbilt
Wind Symphony is the premier wind performing group at Vanderbilt
University and includes the most outstanding woodwind, brass, and percussion
students in the School of Music. The group is dedicated to the performance
of the finest wind repertoire, and its mission is to stimulate musical
growth and provide advanced study opportunities for student musicians.
The Vanderbilt
Concert Winds focus not only on preparing concerts, but on the
musical growth and development of each individual in the ensemble. This
group provides a foundation in wind and percussion pedagogy, performance
practice, and repertoire. Exploring traditional and contemporary works
for winds, students are provided the opportunity to share in the rewards
of the creative process as they broaden their musical experiences.
The Vanderbilt
Chamber Winds is a select ensemble that is flexible in size,
consisting of a variety of instruments. Exploring repertoire both traditional
and contemporary, this ensemble is dedicated to raising the collective
consciousness of player and audience to the importance and diversity of
chamber music.
ADDITIONAL
GROUPS:
The Vanderbilt
Contemporary Ensemble is a group of flexible size and instrumentation
dedicated to the cultivation of the skills and experience necessary to
perform the music of today with confidence and verve.
The Wind/Percussion
Coaching is to strengthen ensemble skills without the pressure
of preparing a performance. Session topics include: Listening across the
ensemble, Building "inner pulse," Balancing and tuning techniques,
Elements of style and performance practice, Concepts of phrasing with
shape and nuance, Successful approaches to sight reading, Learning technique
with a musical intent, and Strategies for the successful rehearser. An
alternate meeting time (TBA) is arranged for marching band students.
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