TMEA ALL-STATE AUDITION SELECTIONS

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1 TMEA ALL-STATE AUDITION SELECTIONS Hello, my name is Amy Anderson, Oboe Professor at Texas Tech University. I have recorded the All-State Audition music for oboe including Masterclasses for each selection available in PDF. I wish you the best of luck in your preparation, and hope that these materials assist you in your musical development and to become more confident in your audition process. Preparation for auditions benefits all areas of playing. Selection #1 No. 40, p. 20 in G Sharp Minor Overview: This selection offers us the opportunity to develop more confidence playing in sharp key signatures. The G sharp minor key signature at first may seem to contradict the playful style of this piece! Combined with the light articulations and triple meter, it becomes a light-hearted dance. The tempo-marking Allegretto is common, but sometimes misunderstood. It is a fast tempo, often implying a light style, but slower speed than Allegro. Masterclass: For technical facility and comfort in this key, regularly practice the G sharp minor scale and its relative major scale as well: B major. A good warm-up for each practice session is to begin with a slow B major scale in half notes, focusing upon good tone and legato fingers. Then warm up by playing measures under tempo. In these measures, notice that the G sharp Harmonic minor scale begins on the last 16 th note of measure 53 and uses F double sharp (Fx). The music is interrupted with an unusually long fermata in measure 55. The clever and mischievous sounding resolution in measure 56 offers a clue to the character of this study! The light articulations and the triple meter also convey the playful and quirky dance character!!

2 2 Practical Practice: Foster technical ease and confidence with under-tempo practice. Focus upon playing with a light tongue and fingers. Keeping the tongue forward in the mouth assists lighter articulation Pay it forward in your technical improvement by creating good habits used in slow practice. Practice slurring two measures at a time. Carefully add in articulations. Make copies for practice; mark them and update them as you progress; mark any sharps and left hand D sharps as necessary. Make note of blips between notes, and practice those intervals. Practice in small chunks. 1. Experiment with 15 minute practice chunks to accomplish one goal. 2. Extract a small chunk of music and focus solely on it: one phrase, one measure, one beat, or one note as in the case of the high Es Displace the octave: play the high passages an octave lower for best sound, pitch and style. Then mimic that result in the written octave. Aim to accomplish only one goal at a time. Play this style light; breathe and relax while practicing any new fingerings. Enjoy your practice and proceed as slowly as needed. Phrasing Highlights The beginning consists of 8 measure phrases, and can be shaped with measure phrasing. The middle section begins in measure 17. Crescendo and shape this repeated motive. Observe the accents throughout; the accented notes serve as landmarks of the phrasing. In measures 60 and 76 stay up in dynamics; echo in measures 61 and 77. Notice the difference in articulation in measures 12 and 52, and the melodic variation in measure 68. After fingerings are practiced, this phrasing goal also assists technique. Fingerings: options for measure 13, 52, and 69. Using the 1 st Octave key: Alternate E: Left--1/2, 2 Full D#: Left--1/2, 2, 3 plus low B key. Right 2, 3 Using the 3 rd Octave key: E: Left--1/2, 2, Ab D#: omit Ab

3 3 Selection No. 2 No. 27 p. 14 in C MINOR Lagrimoso Overview This beautiful study explores expressiveness and tone development. Expressiveness includes playing legato, sustained melodic lines through breath control. This mournful piece is marked Lagrimoso literally meaning tearfully, and lamenting. Listen for and practice vibrato to add to the long singing lines, wonderfully characteristic of the oboe. It will be helpful to practice without the trills and turns to play with secure rhythm. Masterclass: Playing a singing melodic line: Phrase goals assists in creating long, singing melodic lines. Pay attention to smooth slurs achieved through blowing and legato fingers. Note any blips between notes; isolate those intervals for practice. Practice Long Tones in Whole Notes on half-hole D Quarter note= 60. Begin with 4 beats and attention to the sample goals for each long tone. Gradually increase the length held. Goals of Long Tones: To develop breath control and endurance To sustain a steady, beautiful sound To fine-tune attacks and releases To practice Vibrato Phrase with Purpose: The eighth note receives the beat, but the melody is flowing with a metronome marking of Eighth note= Pay attention to note lengths and accents.

4 4 Phrase with Purpose: Accents in this style are executed with weight of the breath, as if saying "pah"; these accents might imitate sad sighs to create the mood of this study. Articulation helps shape the melodic line. This general style is sustained and legato. Use active air to achieve the sweeping dynamics in this style. Crescendo when ideas repeat, such as found in measures 5, and 6 with their 3 pick-up eighth notes. The 32 nd notes are sustained In measure 8, the staccato marks indicate leading pickups, not short length. Lead the crescendo in measures 13 and 14 with the stair-step B, C and D, Eb and sustain the forte until the diminuendo. The accents in measure 38 lead the dramatic crescendo up to the high Eb Interpretation of Ornamentation: Trills and Turns The trills and turns are expressive, yet planned rhythmically. To insure good rhythm, practice without the trills and turns as well. Even if confident, this practice strengthens rhythmic accuracy and musicality in performing ornaments. In measure 3, play a relaxed 5 note turn with the grace note that follows unhurried, but before the beat. The turn in measure 23 consists of four 32nds notes following dotted eighth. Starting the trills a bit slower adds to the expressiveness of the trills. Fingerings: Eb-to F Trill Fingering: Trill the 2nd finger of right hand while fingering Eb, with 1/2 hole and no octave key High Eb: Full fingering should be used for best tone and intonation. Eb: Left--1/2, 2, 3 and Right--low B natural key; Right -- 2, 3 For a good high Eb: use plenty of air and speed the air just before.

5 5 Selection No. 3 No. 18 in Bb Major, page 9 Vivace Overview: This spirited selection is characterized by rising and falling melodic lines, in contrast with articulated patterns, accents and arpeggios. Select a tempo for this etude that allows you to play with clean technique and rhythmic accuracy in a steady tempo. Unsteadiness sounds uneasy. Practice for smoothness of slurs. Subdivide the long and tied notes carefully and use a metronome for assistance. There is often a tendency to clip or extend the long notes. Show off the accents with added breath accents. Highlighting the dynamics, the smooth lines in contrast with the articulations will bring this fun, yet challenging study to life. Masterclass: Phrasing: Set the mood for this selection with a strong rhythmic placement of the 16th pick-up. To do this effectively, prepare by counting a full measure rest, breathing on beat 2 upbeat, with an energized up on the inhale and down on the first beat. The phrase then leads to the accented G in measure 4. In mm. 5 and 6, playing the eighth notes slightly long will add to the overlapping effect that propels the phrase forward. Lean into the accented notes in mm. 10, 11, and 12 to prevent a tendency to rush. The Bb can then finish with a ring and slight In the long haul to the high F in measure 16, it will be necessary to rest the embouchure and breathe in measure 12 to keep the pitch and tone centered on the high F.

6 6 Phrasing: The crescendo and line in mm. 21 and 22 lead through each accented eighth note; bring out the main notes, rather than the C's, with slight pulses of air. For the secure slur to high D in measure 24, it may be helpful to lift the 1/2 hole finger. While still using fast air, lifting the 1/2 hole to slur to high D acts to secure the response. Contrast the accents in mm. 25 and 26 with the slurred groupingsthese are pickups to the main accented note. The accents in mm. 27 and 28 emphasize the line, like stair-steps up to the high Eb. Coasting up the chromatic line in mm. 31 and 32 may help the tendency to rush. Save some air power for the crescendo to the double forte in measure 33. Subdividing the dotted quarters in mm. 33 and 55 also prevents a tendency to rush. Mark the challenging measures and practice them in a variety of rhythms and articulations! Have fun improving!! Fingerings: measures 12, 52, and 68 Eb: Left--1/2, 2, 3 and Right--low B natural key; Right -- 2, 3 Db: Left-- 2, 3; Right-- 1 and Low C key F: Left-- 1st octave key 1/2, 2, 3 Ab and Eb; right 2, 3 For the Ab and Eb, you may use any combination of the keys on right or left that is effective for you..

7 7 AUDITION TIPS Focus upon the music, play your personal best rather than listening to others, or thinking about nervousness. Breathe! Build confidence: practice confidence and relaxation in practice sessions in addition to musicality and oboe technique. Breathe deeply to relax. Take 3 breaths that are deeper and exhale slowly through the mouth. Select and practice a short 1-3 note warm-up in advance for each selection that helps focus your concentration. Play your personal best at your prepared tempo. Breathe! Select your reed based upon the response of the low register, while maintaining stability in the high register. Practice these tips in your practice sessions. Remember that the judges want you to do your best. Trust your preparation. Breathe! Breathing is good! Exaggerate the unique styles of each and Sing through the Oboe. Congratulations on the improvement gained by preparing these studies. I wish you the best of luck with your audition and hope to see you at TMEA in San Antonio. Please feel free to contact me at amy.b.anderson@ttu.edu

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