 The Clarinet BBoard
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Author: bcl1dso
Date: 2006-07-10 03:59
For those of you who have seen the Colburn Audition repetoire you know it difficulty, for those of you who have not here it is.
All Major and Minor scales 3 octaves except C# D and Eb
1 Caprice either 1, 2, 5, 6, 8, 9, 10, 14, 15, or 17 from ini: Dix-Sept Caprices
#1 in Bach's Quinze Etudes Adaptees a la clarinette
Movements 1 and 2 from the following concerto (choose one concerto
Crussel Concerto #2 in fm, Op. 5
Mozart Concerto K. 622
Weber Concerto #1 in fm
and Movements 1 and 2 from the following conerto's (choose one concerto)
Corigliano Concerto
Nielsen Concerto
Copland Concerto (entire work)
My first question is how would you prepare for this. I am planning on starting 2 years ahead of time. They want you to memorize it although it is not required. Also when you audition do they usually make you play everything they wanted you to prepare because if they do would your audition be like 1.5 hours long. Just wondering what your thoughts . And any helps tips and hints would be more then appreciated I assure you.
Thanks
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Author: clarinetfreak
Date: 2006-07-10 04:48
I beileve the key to any audition is that you demonstrate good (and in this school's case)-great playing. I doubt that Yehuda is going to ask you to play all your scales, in fact, I bet his complete assesment of your playing would be made in less than three minutes of your audition. So why is this list so extensive you might ask? Well, I beileve the requirment reflects the type of student he wants studying with him. He wants a serious student that is well grounded in his fundementals (scales), working on challenging repretoire both musically and technically (the solo works), and I also think he uses a lot of etudes in his teaching. If I was serious about becoming a student at Colburn or any other great music schools I would be practicing a minimum of 4-5 hours a day concentrating on becoming a better clarinet player and musician using a variety of studies and other musical materials and also incorporating the list of works on the list. The bottom line is how well you play the instrument. Good luck with your future endeavors!
Good Times!
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Author: thechosenone
Date: 2006-07-10 06:04
As Colburn is anticipating many applicants (because of a full ride), selecting such a challenging list is a way to filter applicants.
As for how to approach the requirements, this is the approach I would use.
1. Scales: pretty straightforward, you have to know all of them, not just for this audition, but for the rest of your playing career. Use Baermann 3, do a search on this BBoard to find methods on using the book. Make sure you know them frontwards and backwards, and have such control that you can alternate rhythms at will, from sixteenths to triplets to sextuplets...etc, and you can play them with the same ease and quality of sound at any dynamic. Invest in alternative fingerings for alt. register.
2. For the etude book, I'm not familiar with it, but they are based off Paganini caprices for violin. Go through every one of them and pick out one that you feel that you are most connected you. This is the one you will love playing the most, will bring out your best qualities, and the one you will like working on.
3. For the classic concertos, the Mozart is going to be on every audition for the rest of your life, so you will have to learn it thoroughly one way or the other. Strategically speaking, if you have the Mozart well under your fingers at a high level, you can take down multiple birds at once with a single gunshot. All (I believe) other conservatories require the Mozart in some form, so it saves valuable time as well. But of course, the Weber and the Crussel are all excellent pieces as well that deserve to be considered.
4. These are the extremely challenging concertos. I would obtain a part for each and listen thoroughly to a recording of each. Each of these concerti is quite different and has its own challenging and rewarding aspects, and it is up to you to decide which to pursue.
Of course, consult with your private teacher as well, as I'm sure he/she has the best indicator of your abilities.
And also, definitely get a lesson with Mr. Gilad himself.
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Author: andyrox
Date: 2006-07-10 07:55
yeah if you want to study with yehuda id suggest you take a few lessons from him. He is a very busy musician so give him sometime to open up a lesson appointment. Dont wait for the last minute. Also, get to know him by attending his summer camps and whatnot. colburn is very competitive. They have very talented musicians in their staff. Good Luck
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Author: xxColorMeJoshxx
Date: 2006-07-11 14:23
Does anyone know how many openings Yehuda anticipates for the 2007 school year (or generally how many he takes) - both at Colburn and USC?
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Author: Ken Shaw ★2017
Date: 2006-07-11 18:04
Yehuda said in a master class that he wouldn't take a student who didn't have a sense of humor.
Don't be afraid to laugh. He needs to use all of what you are.
Ken Shaw
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Author: clarinets1
Date: 2006-07-11 19:41
forgive me for being ignorant, but who is this Yehuda fellow? i've never heard of him.
JK
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Author: DHsu87
Date: 2006-07-11 20:18
If I'm not mistaken, this year Yehuda took 7 clarinetists at USC. 2 undergrad and 5 grad, but this year is an anomaly; usually he takes less students from what I hear. I got these numbers from an admissions officer at USC.
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