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Re: Air Force Tape

Author: ken
Date: 2006-10-15 01:15

An angle you may consider to gain an edge on sight reading material (for a tape and real-time audition) is contacting the Publicity office of the band where you’d be auditioning. Or better yet, attend a concert band performance. Request a copy of a program from the concert band's latest gig or most recent tour. Ask them to scan/email attach or fax ASAP to save time and a stamp. BTW, these programs were already released to the general public so the programming information is no longer sensitive or guarded.

Research the music and select a piece for a band excerpt on the audition tape (it's customarily the first "full band" selection after the National Anthem.) If not, select an original band work or transcription from any U.S military band concert program or take from the provided list below. And, it's common (or used to be) for the audition committee (audition airman/noncommissioned officer in charge, clarinet section leader or Commander) to pull reading material from the 1st clarinet folder.

As Symphonic and Wind Ensemble Band music evolves, there are certainly newer and more challenging works to conquer. New breed standards such as the clarinet solo from Frank Tichelli's "Blue Shades" may be used as sight reading and/or the last movement and page of "Exhilaration" from Donald Grantham’s "Southern Harmony." Philip Sparke's, "Dance Movements" may pop up on the stand. Still more, band compositions by Eric Ewazen, David Maslanka, Keith Gates, Jack Stamp, Fred Cohen, Donald Erb, Ron Nelson and Martin Ellerby have extremely demanding 1st Clar parts --- hence finding out what’s in the concert band folders! If the Commander/Conductor is into the post-modernist stuff you need to go into that environment knowing what the musical emphasis is and be as prepared as you can. Whichever Regional/Premiere Band you wish to become a member do your research on the unit and its people; visit their website; read/study the bios of the officers and enlisted in charge; obtain a discography, go to their concerts and network backstage; call and request concert band CDs and study them. All this effort and info grabbing can help you when you make your audition tape and take an audition. To my knowledge, only the Premiere Bands give blind, behind the screen auditions and eliminate committee interaction other then the auditions assistant.

As for tape logistics and strategy try to "stick to the script." Depending on how much the band is micro-managed the Commander may be involved in the pre-audition process. Invariably, other section leaders (flute and/or oboe) may be invited to attend and have input. And, having potentially more non-clarinetists in the judging pool -- and although stunningly beautiful and technically ferocious -- I do not recommend submitting 20th Century solos, the Martino Set, Corigliano, Nielson, Finzi, Hindemith, Piston or works by Joan Tower. Select a solo that is tonal and in a classical or romantic era form. Contemporary period exceptions are the Stravinsky "Three Pieces", Mucynski "Time Pieces", Poulenc, Debussy and "Ebony and Copland" Concertos. One final rule exception is recording portions of the John Heins Clarinet Concerto. John Heins was an Air Force Band Pianist/Clarinetist. In the past 20 years the solo has become a career field clarinet mainstay.

If doable, I recommend using a "live performance." It’s the most honest and accurate representation of an artist's skill set and providing insight into showmanship and audience draw. If recording in the studio, use an accompanist and a page turner and keep the elapsed time less than 30 minutes --- attention span, attention span. For example, if you choose the Mozart as your prepared solo stick with it; do the 2nd movement followed by the 3rd. Then 1 fast or slow orchestral and band excerpt and that's all.

For methodology and general observations on recording/producing USAF Band audition/demo studio CDs please see my remarks in the “Recording” thread.

Link: http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=124884&t=124761

It’s just as appropriate submitting etudes with solo transcriptions. Combining Scheherazade (i.e., Korsakov pub. Rubank, trans. Henry W. Davis) with 2 etudes; 1 from Rose 32 or 40, and Jettel or Uhl books can equally demonstrate core qualities.

Here's a list of band pieces that can be used on any audition tape and that are high probability sight reading candidates in an USAF band audition. Use 1st Bb Clar parts except where noted:

1) The Planets - Solo Clar (Holst/Holst; Boosey & Hawkes)
2) The Pines of the Appian Way (Pines of Rome) - (Respighi; d'Elia-Leidzen)
3) Porgy and Bess (Gershwin; arr. Robert Russell Bennett)
4) Procession of Nobles (Korsakov/Goldman arr. Leidzen)
5) Russian Sailor's Dance (Gliere; trans. Leidzen)
6) Finale from Symphony No. 4 in F Minor (Tchaikovsky; arr. V.F. Safranek)
7) Variations on America (Ives; arr. Schumann)
8) Valdres (Hanson; arr. Bainum)
9) First-2nd Suites for Military Band - Solo Clar (Holst; Boosey & Hawkes)
10) Symphony No. 5 (Finale) (Shostakovich; trans. C.B. Righter)
11) Celebration Overture (Creston; pub. Templeton)
12) Festive Overture (Shostakovich; trans. Hunsberger)
13) El Salon Mexico (Copland; trans. Hindsley)
14) La Fiesta Mexicana (H. Owen Reed; pub. Mills Music)
15) Russian Christmas Music (Alfred Reed; pub. Sam Fox)
16) The Sorcerer's Apprentice (Scherzo; Dukas; arr. Calliet)
17) American Overture for Band (Jenkins; pub. Presser Co.)
18) Colas Breugnon Overture (Kabalevsky; trans. Beeler)
19) The Irish Washerwoman (Anderson; pub. Mills Music)
20) Chorale and Alleluia (Hanson; pub. Fischer)
21) Andrea Chenier (Giordano; arr. Richards)
22) American Salute (Gould; pub. Mills Music)
23) La Forza Del Destino (Verdi; arr. H.R. Kent)
24) Roman Carnival (Berlioz; pub. Alfred)
25) Light Calvary (Suppe; arr. Fillmore)

v/r Ken

Post Edited (2006-10-15 03:22)

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