Camp Hoblitzelle July 25 August 3, 2009 AUDITION MATERIALS

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1 Camp Holitzelle uly 25 August, 2009 ADITION MATERIALS Every delegate ill need to complete at least one audition on the opening day o TMI. Please reer to the list elo, and prepare accordingly or each audition: *INSTRMENTAL MAORS must complete a asic music skills test, an audition on your instrument, and a vocal audition. *VOCAL MAORS must complete a asic music skills test and a vocal audition. *DRAMA MAORS must complete a asic music skills test, a drama audition and a vocal audition. *DANCE MAORS must complete a asic music skills test, a dance audition and a vocal audition. *PIANO MAORS must complete a asic music skills test, a piano audition, and a vocal audition. *ALL aove maors must also complete an intervie and/or audition or an elective class on opening day. INSTRMENTAL LEADERSHIP STDENTS must complete an audition on your instrument and have an intervie ith Dr. Ronald Holz. VOCAL LEADERSHIP STDENTS must complete a vocal audition and an intervie ith Captain Stan Colert and have an option to audition or a and. CREATIVE ARTS LEADERSHIP STDENTS must complete a drama, dance, and a vocal audition. WORSHIP ARTS LEADERSHIP STDENTS must complete a orship team audition and a vocal audition. ADITION INSTRCTIONS BASIC MSIC SKILLS TEST (NEW requirement): page 2 VOCAL ADITIONS: page 5 BRASS, PERCSSION PIANO ADITIONS: page 9 DRAMA DANCE ADITIONS: page 26

2 Camp Holitzelle uly 25 August, 2009 BASIC MSIC SKILLS TEST Delegates ith the olloing maors must complete a asic music skills test: Instrumental (Band) Voice Drama Dance Piano INSTRCTIONS A short ritten test ill e given to test your understanding o asic music skills. The topics covered ill e dran rom the olloing suects: Sta, Notes and Pitches Trele Cle Sta Ledger Lines Measures Bar Lines Repeat Sign, 1st 2nd Endings Dynamic Signs Tempo Marks Articulation DC, DS, Coda, ine lats Sharps Naturals Whole steps, Hal Steps, Enharmonics Note Values 4/4 Time Signature and Note Values Whole, Hal and Quarter Rests 2/4 /4 Time Dotted Hal Note Ties Slurs Eighth Notes Rests Dotted Quarter Note Sixteenth Notes Rests Dotted 8th notes Common Time Cut Time 6/8 /8 Time (Slo ast) 8th Note Triplets These suects are covered in Book 1 o most music theory programs. It is essential that you understand these concepts in order to progress ith your musical study. I you pass this test, you ill select an elective class during Period. I you do not pass this test, then you ill e required to take a Basic Music Skills Class during Period. This is a change rom hat has happened in the past. A sample test is provided on pages 4 or you to practice. I you do not understand everything on this test, please seek help rom a music leader in your corps or division eore you come to TMI. There may e a e questions on the exam that are more diicult than hat you see in the practice test. These are or evaluation purposes only and ill not e counted against your test score. 2

3 TMI 2009: Basic Music Skills Practice Test Name: Result: A. Dra the musical symols elo, as indicated: 1. hal note 2. lat. trele cle 4. hal rest 5. sharp 6. quarter rest 7. measure 8. ass cle 9. hole rest 10. quarter note B. Write the note letter names elo the olloing notes: C. Write the ansers to the olloing questions on the sta elo (see example): Ho many... h in 1? Ex. q in 1? q in 1 h? q in 2 h? Œ in 1? Œ in 1 Ó? Ó in 1? D. Ho many eats per measure are indicated y the olloing time signatures? C (slo) (ast) E. Write the counting elo the olloing rhythms (see example): 4 Œ Œ Œ Œ Œ Ex. (or 1 Ti ti 2 ta ta ah) 4.

4 . Arrange the olloing dynamics in order rom sotest to loudest: π P p ƒ TMI 2009: Basic Music Skills Practice Test G. Write the name o the olloing ords or symols, then deine in the space provided. Name: Deinition: 1. cresc. 2.. Rall. 4. q pp 8. D.C H. List the notes that are sharp or lat in these keys (see example)? # Ex. B, E # # # # I. Write the counting elo the olloing rhythms (see example): 4 2 Ex. (or 1 Ti ti 2 ta e ri ti ) Œ. r.. Œ. 8 6 (slo).. 4

5 Camp Holitzelle uly 25 August, 2009 VOCAL ADITIONS Delegates ith the olloing maors must complete a vocal audition: Voice Instrumental (Band) Drama Dance Piano Vocal Leadership Creative Arts Leadership Worship Arts Leadership ADITION INSTRCTIONS Vocal auditions are in 4 sections. Be prepared to sing the melody o the to songs included ( airest Lord esus and God s Moment. Also, you may e asked to demonstrate rhythms, match pitches, and sightsing your voice part (soprano, alto, tenor, or ass) on songs similar to the ones included here. Vocal auditions: pages 68 VOCAL MAORS In addition to the aove audition material, each vocal maor is required to audition on a prepared solo (o your on choosing). Also, please ring other pieces that you have not yet mastered that you can ork on during the eek ith your instructors. 5

6 TMI 2009: Audition Music Vocal Auditions 1. TECHNIQE AND MSICIANSHIP Learn one verse o the olloing to songs, singing the melody (soprano line). Be prepared to demonstrate your aility in vocal technique and expression (acial and ody). German, 17th Century? Moderato ( q = 104 ) air 2. air. air 4. Beau est Lord e sus, Lord o all na are is the the mead sun os, shine, air air er er the the ood moon ti ul Sav ior, Lord o the na AIREST LORD ESS # Silesian Melody ture, lands, light, tions, #? O Roed And Son Thou in all o o the the God and man the Son; Thee ill I cher loom ing tink ling gar star o ry spring; host; e e sus sus is shines air right God and Son o Glo ry and hon man, ish, er, er, or,? Thee e e Praise ill sus sus I is shines hon pur pur or, er, er Thou Who Than my makes all soul's the the glo oe an ry, ul gels ad o ra tion, No and or ev er # oy heart heav'n more and to can e cron. sing. oast. Thine. 6

7 TMI 2009: Audition Music Vocal Auditions lora Larsson Moderato ( q = 100 )? This 2. This. This is is is God's God's God's mo ment, e ore you Christ pleads, His lood shed on Cal v'ry mo ment, His mes sage you've heard, A long si lent chord in mo ment, a ne day no reaks, Re leased rom sin's ond age GOD'S MOMENT.. ohn Larsson or your your. #? you in ter cedes; His grace is su i cient to meet all your heart has een stirred, With in you aith ris es, you trust in His soul lie a akes, And thrills to the less ing o hich it par. n # n needs, ord, takes, or or or #... Chorus: # n.? this this this is is is God's God's God's moment moment moment n. or or or you you you. (or (or (or you). you). you).. This is God's mo ment, God's mo ment #. or.?? you, #. A mo ment so sol emn, yet oy ous and ne, or sin ning, Real lie is e gin ning, or this is God's moment n #. Copyright 1965 Salvationist Pulishing Supplies, Ltd.. #. n n or. you.. giv'n is all..

8 TMI 2009: Audition Music Vocal Auditions 2. RHYTHM Be prepared to demonstrate your aility to clap rhythms similar to the olloing: 4 2 Π4.. Π4 4. MATCHING PITCH Be prepared to demonstrate your aility to match the correct pitch on melodic phrases similar to the olloing: 4 4. Π#. ΠPARTREADING Be prepared to demonstrate your aility to sightsing your voice part on songs similar to the ones on the previous pages. 8

9 Camp Holitzelle uly 25 August, 2009 INSTRMENTAL ADITIONS Brass and Percussion Delegates ith the olloing maors must complete an instrumental audition: Instrumental (Band) Instrumental Leadership Also, Choral Leadership students have the option to audition or a and i they so choose. ADITION INSTRCTIONS Thoroughly prepare ALL examples that are ithin your range o aility. As you practice, give special attention to oth maintaining a steady tempo and playing the rhythms ith precision. There may also e some sightreading or scales required during the audition, at the discretion o the adudicator. Each rass audition should include a scale sheet, to pages o general exercises, and a page o excerpts speciic to each instrument. Percussion auditions consist o 2 pages o snare drum auditions and one page each or timpani and xylophone. Cornets: pages 101 (including soprano cornet lugel horn) Horn: pages Baritone/Euphonium: pages Tenor Tromone: pages Bass Tromone: pages 1821 Tua: pages Percussion: pages 2225 PIANO MAORS Piano maors should come ready to play a prepared solo as an audition on the opening day o TMI. An intervie ith the piano instructor ill also e a part o this audition. 9

10 4 2 C Maor Scale 4 2 Maor Scale 4 2 B Maor Scale 4 2 E Maor Scale 4 2 A Maor Scale 4 2 D Maor Scale 4 2 G Maor Scale # # # # # 4 2 B Maor Scale # # # # 4 2 E Maor Scale # # # 4 2 A Maor Scale # # 4 2 D Maor Scale # 4 2 G Maor Scale TMI 2009: Audition Music Maor Scales 10

11 1. Legato ( q = ) TMI 2009: Audition Music Trele Cle Lightly ( q = ) Œ Ó. Allegro ( q = 12 ) Œ Lightly 4 2 ( q = ) Œ Œ Œ Œ 5. Allegro 4 4 ( q = 12 ) Ó ^ ^.. #.. ^ ^... ^... # ^ ^... ^ ^. #.. ^ #^ ^ #.. #.. ^.... #. n.... ^.. Œ 6. Allegretto 8 6 ( q = ) #. n n Tempo di Marcia ( q = ) # c #.. #... #. simile # Œ. #..... # Œ 11

12 8. Leggiero ( q = ) ine Allegro ( q = ) n cresc. P.. #..... n.. D.C. al ine n.... TMI 2009: Audition Music Trele Cle n n Œ # n ƒ π cresc. molto 10. # # # Andante ( q. = ) # # 8 6 Andante ( q. = ). # 12. Allegretto ( q = 84 ) Legato ( q = 120 ) n, n n., cresc. n n n n # # # # c n n n.. π # # # # n # # # # # n n Œ Ó 12

13 TMI 2009: Audition Music Cornet Excerpts Lord o Sea and Sky (Martin Cordner) Presto 4 4 ( q = 176 ) 7 8 # p p 4 4 Ṗ #. # #. #..... ṗ #. #. # #. #. #..... π Aspects o Praise, IV. Praise In elloship (William Himes) estivo ( q = 12 ). ƒ. #. # # # #. #. #.. p.. #. #. Nicaea (William Himes) 4 4 Legato espressivo ( q = 80 ) P cresc. poco a poco P 1. n cresc.

14 Lord o Sea and Sky (Martin Cordner) Adagio e misterioso ( q = 69 ) # # # 4 4 # # # ƒ TMI 2009: Audition Music Horn Excerpts P Elsa's Procession to the Cathedral (Wagner, arr. Himes) Largo solenne e sostenuto ( q = 52 ) 4 4 Ó. P. n. Œ The Triumph o Peace (Eric Ball) Allegro marcato ( q. = 112 ) n n. n. p Œ Ó.. cresc. poco a poco. n Œ Ó. n n. #. n.... P # n n n n.. ƒ.. Œ The Call o the Righteous (Leslie Condon) Con molto calore e poco ruato ( q = 100 ) # 4.. #. n # dim. n#.... #. π n. P Œ Œ

15 Lord o Sea and Sky (Martin Cordner) Allegro non troppo ( q = 126 ) Ó # n n # n The Call o the Righteous (Leslie Condon) Declamando e maestoso ( q = 92 ) 4.. His Provision (Ivor Bosanko) Andante con espressivo ( q = 72 ) n n N # N 6 # # n 6 # Œ Œ Ó.. Œ. p niversal Message (Leslie Condon) Allegro maestoso ( q = 104 ) P.. #.. TMI 2009: Audition Music Baritone/Euphonium Excerpts Œ #. # #. n # cresc. #. n. 2 #.. Œ 15 Ó p

16 TMI 2009: Audition Music Tromone Excerpts Aspects o Praise, I. Praise in oy (William Himes) Allegro giocoso ( q = 18 ) 8 6 Œ ä. ä.... Í 2 P. # ^ ^ Œ ^ ƒ ^ # ^ Œ Lord o Sea and Sky (Martin Cordner) Presto ( q = 176 ) # 4 n Œ Ó Rosehill (A.H. akeay) Allegro con rio ( q = 92 ) 4 2 Œ ƒ #. #. #. # Ḟ ƒ Œ Œ ^ ^ ^ Œ Praise (Wilord Heaton) Allegro con energia ( q = 112 ) # 4 # # #. P cresc. # 2 Œ Ó Œ Ó Ó Œ # Ó. Œ Ó Ó ä n # n # Œ ƒ 16

17 The Present Age (Leslie Condon) Allegro vigoroso ( q = 176 ) 4.. Œ... ƒ n# n n #.. Ḟ Œ Œ Œ Œ Œ n n. p n n. Œ n... n. TMI 2009: Audition Music Tua Excerpts Œ Œ n Lord o Sea and Sky (Martin Cordner) Presto ( q = 176 ) 4 4 # # # # # # # # # # Œ Ó Red Shield (H. Goin) Allegro ( q = 112) ƒ 4 2 n# Red Shield (H. Goin) Allegro ( q = 112) # ƒ #. 1. n n. n..... Œ. 2 17

18 C Maor Scale? 4 2 Maor Scale? 4 2 TMI 2009: Audition Music Maor Scales BC B Maor Scale? 4 2 E Maor? 4 2 Scale A Maor? 4 2 Scale D Maor Scale? 4 2 G Maor Scale? 4 2 B Maor Scale?# # # ## 4 2 E Maor Scale?# # # # 2 4 A Maor Scale?# # # 4 2 D Maor?# # 4 2 Scale G Maor Scale?#

19 TMI 2009: Audition Music Bass Cle 1. Legato ( q = )? Lightly ( q = )? 4 Œ Ó. Allegro ( q = 12 )? Œ Lightly? 4 2 ( q = ) Œ Œ? Œ Œ 5. Allegro ( q = 12 )? 4 Ó.. n.. ^ ^... ^? ^ ^... # ^ ^... ^ n^ ^. n.. ^ ^ n.. #.. ^.... ^.... n... Œ 6.? 8 6 Allegretto ( q = ) n... n....? n ? Tempo di Marcia (q = 96116)? c #.. #... #. simile? Œ. #.....? Œ 19

20 TMI 2009: Audition Music Bass Cle 8. Leggiero ( q = )? n ine P cresc.?.. n..... n.... D.C. al ine n 9. Allegro ( q = )? 8 5.?. n n n Œ π cresc. molto ƒ 10. Andante?# # 8 6 ( q. = ). n 11. Andante ( q. = )? 6. 8? 12. Allegretto ( q = 84 )?# # # ## 4?## # ##?# # # ##., # n,. cresc. # n # n# n# 1. Legato ( q = 120 )?# # c.. π?# # ?# # # # n Œ Ó 20

21 TMI 2009: Audition Music Bass Tromone Excerpts Lord o Sea and Sky (Martin Cordner) Molto Vigoroso ( q = 126 )? 4 Œ Œ Œ Œ ƒ?. Œ Ó Œ Œ Ï olloing the lag (Erik Leidzen) Allegro ( q = 112 )?. ƒ.? n # nn? n # n n n Œ Ó Ï Aspects o Praise, IV. Praise in elloship (William Himes) Glorioso ( h = 72 )? 2..? rit. Œ Ó Ó Rosehill (A.H. akeay) Maestoso ( q = 92 )? 4 2 Œ n. n.?. Œ? Œ Œ 21 Œ

22 SNARE DRM Œ Œ TMI 2009: Audition Music Percussion Œ Œ æ æ Œ 4. C æ æ æ Œ æ Œ æ Œ æ æ Œ Œ Ó æ Œ Ó æ. æ æ.. æ... æ. Œ æ. æ.. Œ æ æ æ æ æ æ æ æ æ æ æ æ 22

23 TMI 2009: Audition Music Percussion SNARE DRM 9. 4 ƒ π p p æ π æ ^ ^ ^ ^ ƒ Œ. 2

24 TIMPANI 1. In G C? 4 4 TMI 2009: Audition Music Percussion? Œ 2. In B E q = 108??.??? Œ. In B E? Slo 4 march (q = 66).? æ æ. æ? æ æ Œ æ æ??!! æí cresc. ƒ Œ Ó 24

25 XYLOPHONE 1. C TMI 2009: Audition Music Percussion æ p Œ 2. # # # # 8 Œ # # # # æ # # # # cresc. ƒ # # # # p # # # # n p # # # # cresc. p # # # # 25

26 Camp Holitzelle uly 25 August, 2009 DRAMA MAOR ADITIONS This audition is required or Drama Maors and Creative Arts Leadership Maors only. Those ho ould like to oin a drama elective class must intervie ith the instructor. ADITION INSTRCTIONS Drama and Creative Arts Leadership maors should prepare the attached monologue (page 27) or their auditions. This must e completely memorized. These are ust some o the areas you ill e evaluated on: Memorization Knoledge and use o stage directions Aility to sitch emotions and character Proection Inlection Eye contact Believaility Also, note that you should ear comortale clothes to the audition, and you should ring a lack tshirt and lack pants ith you to camp or perormances. DANCE MAOR ADITIONS This audition is required or Dance Maors and Creative Arts Leadership Maors only. Those ho ould like to oin a dance elective class must intervie ith the instructor. Dance and Creative Arts Leadership maors should prepare a dance o their on choreography or their audition. It should e 2 counts in length and can e done to any Christian music o choice. You must ring the recording (ipod, mp player, CD, or cassette ormat) to the audition. In addition to your overall presentation and originality, you ill e evaluated on the olloing skills: Technique Movement relecting the lyric and style o the selection Personal connection to the piece Energy and conidence Expression Also, note that you should ear comortale clothes to the audition. You are also required to ring a lack tshirt, lack pants, and proper ootear (allet shoes or azz shoes) ith you to camp or perormances. 26

27 TMI 2009: Audition Monologue Drama Track Creative Arts Leadership Maors GIT ROM GOD Psalm 19:117 Romans 12:68 By: Roerta SimmonsSmith (Enter rom upstage let) I m searching or my git. Has anyone seen it? It should e pretty ig and sparkly ith lots and lots o os on it! I mean, it did come rom God himsel! So it has to e right?! (Moves donstage center as i telling a secret to the audience) The truth is, I don t kno hat it looks like, ut I m hoping you can help me ind it. It has got to e around here somehere. (Begins to search stage let and stage right hile continuing to talk) We re talking aout a GIT ROM GOD here! No measly git ag ith torn tissue paper and tacky squirrels holding alloons on the ront. Come on, e all kno that hen God gives us a git there is no dout in anyone s mind that it is a (said as i a oomy voice rom God) GIT ROM GOD! I m surprised it hasn t een dumo dropped rom an airplane! The thing has to e HGE!!! (Walks to center stage conused and annoyed that the git is nohere to e ound) You kno, hen I read in scripture that God has given us dierent gits or doing certain things ell, I as kind o ummed out. I kne that I as proaly the exception to the rule. I mean hy else ould God go through all the troule o alloing my parents to repeatedly say (in a nasal annoying tone) You re orthless and you ll never amount to anything! Not to mention all the people in school ho alk right past me ithout acknoledging I m alive! I guess not receiving my so called (make quotation gesture ith hands) git, as ound to happen. Did you kno there are people in school ho alk around ith their head held high as they hold their massive ox ith sparkly os and scented rapping paper? (Walks as i carrying a HGE heavy ox and not eing ale to see anyone) They can t even see here they re going ecause they re holding their treasure so high. It s like they ve een given this amazing git ut have no idea ho to handle it. (Drops arms ith a realization) Come to think o it, hy ould I ant that?! Why in the orld ould I ant a git like that?! One that I m so concerned aout, that I can t even see the orld passing me y. I d rather e git ree, thank you very much! (Turns to alk upstage, then aces ront changing their mind) Who am I kidding.i.really ant.a git so hy on t God make it asolutely clear ho I can ind it? I ant to eel orth something, I ant to have purpose in my lie! It s not aout lashy os and ig oxes to me, I don t need everyone to see it, I ust ant to receive it and use it the ay He ants me to (Conused reaction as i the next question as given to them as a complete surprise) Call me crazy, ut does anyone ant their eet ashed? 27