All-District Documents

2007-2008 All-District Results
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Middle School Results
9/10 Results
11/12 Results  

General Forms

Greenville Map

Greenville Map Key

Past All-District Conductors/Clinicians

Director Pre-Registration Form
(to register students for All-District)
All-District Clinic Forms
Director Clinic Registration Form
Student Photo/Medical Release Form
Student Medical History Form
Clinic Schedule (2008)
MS All-District Clinic Fee
 
 
9/10 All-District Clinic Fee
 
11/12 All-District Clinc Fee
 
 
Middle School All-District Audition Forms and Information
Solo List (Jump to html version)
Judges form for Winds
Judges form for Snare Drum
Judges form for Mallets
Judges form for Tympani
   
High School All-District Audition Forms and Information
9/10 Solo List (Jump to html version)
9/10 Judges form for Winds
9/10 Judges form for Snare Drum
9/10 Judges form for Mallets
9/10 Judges form for Tympani
     
11/12 Solo List (Jump to html version)
11/12 Judges form for Winds
11/12 Judges form for Snare Drum
11/12 Judges form for Mallets
11/12 Judges form for Tympani

Middle School Solos
Instrument
2007-2008 (Year 2)
Cuts
(play the sections listed)
Flute
The Nightengale Polka, Christopher Nolan, pages 4 and 5, Belwin Master Solos, Intermediate Flute, Warner Bros. publications pickup to m. 9 through m. 48
Oboe
Orientale, Cesar Cui, page 125, Oboe Solos by Jay Arnold, Amsco publications pickup to m. 19 through the end
Bassoon
#12 page 6, First Book of Practical Studies for Bassoon, Paul McDowell, ed. Nilo W. Hovey, Belwin Mills publications ALL
Bb Clarinet
Gypsy Moods, Nilo W. Hovey and Belden Leonard, page 12, Classic Festival Solos for Clarinet Vol. 1, Belwin Mills publications m. 33 through m. 48
Low Clarinets
Etude in A minor, number 5 page 13, Introducing the Alto or Bass Clarinet, H. Voxman, Rubank publications ALL
Alto Saxophone
The Cuckoo, Swiss Folk Song, arr. Keith Snell, page 3, Belwin Master Solos Intermediate Saxophone, Warner Bros. publications Pickup to m. 11 through beat 1 of m. 44
Tenor Saxophone
Minuet in D minor, J.S. Bach, arr. Willis Coggins, page 12, Classic Festival Solos for Tenor Saxophone, Vol. 1, Warner Bros. publications Beginning through the 4th m. after B
Baritone Saxophone
Introduction and Theme, Paganini, arr. Beldon Leonard, page 15, measures 1-20, Classic Festival Solos for Baritone Saxophone, Waner Bros. publications Pickup to 5 through the 1st ending.
Trumpet
Russian Hymn, arr. M.H. Vincent, page 11, Trumpet Solos, Level Two, Belwin Mills publications Beginning up to 1 measure before letter C
French Horn
The Victor, R.M. Endresen, page 18, Soloist Folio for Eb or F Horn, Rubank publications Beginning to the key change in m. 36
Trombone
Nocturne, John Tyndall, pages 6 and 7, measures 8-56, Belwin Master Solos Intermediate Trombone, Warner Bros. publications Pickup to 9 through 2nd m. of the 2nd page
Baritone
*BC uses the book published for Trombone, TC uses the book published for Trumpet.
#9, page 11, Forty Progessive Etudes, Carl Fisher publications Beginning through m. 32
Tuba

Gallant Captain, Sea Chantey, arr. Acton Ostling, page 7, Classic Festival Solos for Tuba, Vol. 1, Warner Bros. publications Pickup to A through the 3rd beat of 1 m. before D
Snare Drum
#7, page 8, Audition Etudes for Snare Drum, Timpani, Keyboard Percussion, and Multiple Percussion, Garwood Whaley, Meredith Music publications ALL
Mallets
#2, page 19, Audition Etudes for Snare Drum, Timpani, Keyboard Percussion, and Multiple Percussion, Garwood Whaley, Meredith Music publications ALL
Timpani
#3, page 13, Audition Etudes for Snare Drum, Timpani, Keyboard Percussion, and Multiple Percussion, Garwood Whaley, Meredith Music publications ALL
String Bass
Ave Verum Corpus, Mozart/arr. Forest R. Etling, Solo Time for Strings, Book 3, p. 19  


9/10 Solos

Instrument
2007-2008 (Year 2)
Flute
Allegretto, Goddard, 24 Short Concert Pieces, Southern Music Co.
Oboe
Aria and Rondinella, Mvmts. 1 and 2, G.F. Handel, page 3, Concert and Contest Collection for Oboe, Rubank
Bassoon
Sonata #5, Galliard, Mvmts, 1 and 2, page 21, Master Solos for Bassoon, L. Sharrow, Hal Leonard publications
Bb Clarinet
Gavotte, page 3, Solos for the Clarinet Player, Christmann/Schirmer
Low Clarinet
Sarabanda and Bouree, page 2, Concert and Contest Collection for Bass Clarinet, Rubank
Saxophone
C Major, page 2, Selected Studies for Saxophone, Voxman
Trumpet
Centaurus, page 68, Rubank Advanced Method Vol. 1
French Horn
Concerto No. 3 in Eb Major, Mvmt. 2, Larghetto, Mozart, Schirmer's Library of Musical Classics Vol. 1807, Four Horn Concertos and Concert Rondo, Horn in F.
Trombone
Sarabane and Vivace, page 9, Concert and Contest Collection for Trombone, Rubank
Baritone
Premier Solo de Concour, page 4, Concert and Contest Collection for Baritone, Rubank
Tuba
Premier Solo de Concour, page 5, Concert and Contest Collection for Tuba, Rubank
Snare Drum
#14, Portraits in Rhythm, Cirone
Mallets
#3, page 20, Audition Etudes, Whaley, JR pub
Timpani
Topical Tymps, Tymp Tunes, Schinstine
String Bass
Meditation, Handel/arr. Forest R. Etling, Solo Time for Strings, Book 3, p. 20


11/12 Solos

Instrument
2007-2008 (Year 2)
Flute
Concertino Op. 107, Chaminade, Pages 137-138 only, Selected Flute Solos, Amsco/Music Sales Corp.
Oboe
Suite for Oboe and Piano, Mvmts. 1 and 2, Walter Piston, Schirmer Music Company
Bassoon
Chanson Triste, Tchaikovsky, page 9, Master Solos for Bassoon, L. Sharrow, Hal Leonard publications
Bb Clarinet
#4, F Major, pages 84-85, Bb or Eb Artistic Studies Book 1, The French School, Hite/Rose, Southern Music publications
Low Clarinet
#25, Eb Major, page 70, Clarinets Artistic Studies Book 1 - The French School, Hite/Rose, Southern Music publications
Saxophone
A Major, page 29, Selected Studies for Saxophone, Voxman
Trumpet
Petite Piece Concertante, Balay, pages 18 and 19, Concert and Contest Collection for Trumpet, Rubank
French Horn
Villanelle, page 23-beginning to end of page 24, Solos for the French Horn, Ed. Mason Jones-Schirmer/HL
Trombone
#37, pages 48-49, Melodious Etudes for Trombone, Rochut, Carl Fisher
Baritone
Petite Piece Concertante, Balay, pages 18 and 19, Concert and Contest Collection for Baritone, Rubank
Tuba
Adagio and Allegro, pages 14 and 15, Concert and Contest Collection for Tuba, Rubank
Snare Drum
#29, page 31, Portraits in Rhythm, Cirone, Belwin-Mills
Mallets
Sonatina, Telemann, page 6, Masterpieces for Marimba, McMillan, Belwin-Mills
Timpani
Page33, Musical Studies for the Intermediate Timpanist, Whaley, JR Publications
String Bass
The Swan, page 23, Solo Time for Strings Book 4, Etling, Highland/Etling Pub

Frequently Asked Questions about All-District Auditions

What do I need to do to register my students

First, the director must be a member of our Eastern District Bandmasters Association and NCMEA. Send the All-District Audition Registration Form and check to the appropriate chairperson. You may send the registration form by email, but the check must still be postmarked by the deadline, which is 30 days prior to the audition!!!

Are there guidelines for the sightreading?

Yes! Our sightreading examples are composed specifically for the auditions, and the composer uses the following parameters from our Contest Sightreading Guidelines:

  • Middle School sightreading is based on Grade III parameters.
  • 9/10 sightreading is based on Grade V parameters.
  • 11/12 sightreading is based on Grade VI parameters.

What are the 11/12 high school mallet requirements?

All 10 scales, 2 octaves, in three minutes.

After I register my students, should I send notification of "no shows" ahead of time?

Definitely! Email them to the appropriate chairperson no later than the Wednesday before auditions.

How should I teach the scales?

  • Tell 9-12 students that they may be asked to play them tongued OR slurred, at ALL HIGH SCHOOL grade levels.
  • Middle school scales should all be toungued.
  • Chromatic scales are slurred for middle and high school grades!

Do I need to send a separate check to each chairperson if I have students auditioning at two different levels?

Yes -- send one to the 11/12 chairperson, one to the 9/10 chairperson, and one to the middle school chaiperson.

When is the deadline for registration?

Your registration form must be postmarked one month (30 days) prior to the auditions. If you send in the form via email, please remember your check must still be postmarked by this date! Remember, the auditions fees went up to $8.00 per student as of the 2005-2006 school year! The fee for registering students late is $16.00.

IMPORTANT - YOU MUST PRE-REGISTER STUDENTS BY THE DECEMBER DEADLINE (check the Calendar Page) TO BE ABLE TO PARTICIPATE IN AUDITIONS AT ALL. IF YOU DO NOT PRE-REGISTER IN DECEMBER, YOU WILL NOT BE ABLE TO "ADD" STUDENTS THE DAY OF AUDITIONS.

Can I add students after the deadline?

Yes. There is a late registration fee per student of $16.00. (On Time registration is $8.00 per student).

If I have a student that was registered and can not make the auditions, could I send another student in his/her place?

No. You can ADD students (for $16.00), but you may NOT substitute. And remember, if you have not pre-registered students by the December deadline, you can not register them at the audition site the day of auditions!

Do the students have to be enrolled in band class?

The students need to be enrolled in at least ONE UNIT of band (for at least one semester) to be eligible to audition. This also means that any students auditioning on String Bass must be registered IN A BAND CLASS.

Can students audition on more than one instrument?

NO, but percussion students may audition on more than one percussion instrument. If a woodwind or brass player auditions on more than one instrument, he/she will be disqualified.

If a percussion student auditions on more than one percussion instrument, do they have to pay a double registration fee?

No. Each student pays only the $8.00 registration fee (unless they registered late, and then the fee is $16.00).

What time are the auditions?

 
Registration
Judge's Meeting
Auditions Start
Middle School
8:00 am
9:00 am
10:00 am
High School
8:30 am
9:30 am
10:00 am

Can the students use their own copy of the solo, or do they have to use the one provided for them?

They may use their own copy. We simply provide one to illustrate which section of the solo to play.

Do the scales have to be memorized?

Yes. Middle School should tongue all major scales and slur the chromatic, and 9/10 and 11/12 students should be prepared to tongue OR slur their major scales (decided by chairperson), and slur the chromatic. Click here to download scale sheets.

  • Middle School students will be required to play 3 of their 6 Major scales (randomly chosen by the chairperson) in a 2 minute time limit.
    MS students are required to learn the following scales:
    Bb, Eb, Ab, F, C, G

  • All HIGH SCHOOL students will be required to play ALL scales in a 3 minute time limit.
9/10 students will play their scales in the following order
(listed here in CONCERT pitch):
G, C, F, Bb, Eb, Ab, Db
 
11/12 students will play their scales in the following order
(listed here in CONCERT pitch):

D, G, C, F, Bb, Eb, Ab, Db

 

A list of the scales (in order) will be placed on the stand for the students to see. The list they see will be in THEIR WRITTEN pitch, NOT concert pitch!

What do my percussion students need to bring?

A practice pad or practice bell set.

Will there be refreshments for the students?

Refreshments will be provided in the cafeteria. Students will be able to purchase food, candy, and sodas from the local band booster organization.

How will audition times be selected?

There is no set time for individual auditions. Students are placed in audition order randomly. Students who are registered late (the day of auditions) are placed FIRST in the auditions.

When will we find out who made the bands?

Results will be posted at the audition site later in the day, usually around 3:30-4:00 pm. The results will be posted on the website as soon as possible (usually the day after auditions).

If I have students make the band, is there a cost for the Clinic weekend?

Yes. The cost is determined by the President, who arranges for the actual clinic meals, etc, and this information is usually provided to directors the day of auditions. There is an $18.00 fee for all students (even Middle School), which covers their lunch at the University both days.

If my students make the band, how will they be housed?

Each school is responsible for arranging the housing and supervision of their students for the entire weekend.

If I do not have any students make the band, should I still try to come to the Clinic?

Yes. We vote on many important issues at the business meeting.

I don't have any students planning to audition. Do I still need to go to the auditions?

Absolutely! We need every member of the district present to assist in judging. This cuts down on audition time and makes the audition process run smoothly.

How do I know if my student placed high enough to audition for Honors Band?

ELIGIBLE FOR NC HONORS BAND AUDITIONS FROM EACH DISTRICT
Middle, High School (9/10) and Senior High (11/12) Bands

4 Flutes

2 Oboes
2 Bassoons
1 Eb Clarinet
6 Bb Clarinets
2 Alto Clarinets
2 Bass Clarinets
1 Contrabass Clarinet
2 Alto Saxophones
1 Tenor Saxophone
1 Baritone Saxophone
5 Trumpets
3 French Horns
3 Trombones
2 Baritones
2 Tubas
1 String Bass
2 Snare Drums
1 Mallet
1 Timpani


Go to http://www.ncbandmasters.org/honorsband.html to get forms and information about the auditions.



Guidelines for District Band Adjudicators

  1. Be sure to greet the students and smile. Help to make students feel more comfortable and not so intimidated. However, there should not be any discussion in regards to any information about the student other than what their first name and audition number are. Allow the students to play a few notes if they choose.
  2. Write the audition number and first name of the student on the judge's sheet. Make sure you verify this information with the student.
  3. Bring a calculator so you can correctly add the scores together.
  4. Directors may check on their students during the judging process, but must not give any informaiton in regards to the audition materials, such as what scales are being played, where the cuts are on the solo and any informatin about the sightreading.
  5. Judges need to maintain a professional attitude and are expected to judge each student fairly.
  6. When judging a performance refer to the adjudication rubric. This will help you to be consistent and to consider all aspects of a performance as opposed to allowing a personal bias to unduly affect your overall assessment of a performance. For example: you should not deduct points from a solo score for an interpretation of the music that is within the parameters what is indicated on the page! You may have a well formed and valid opinion as to how a piece should be executed, however points should not be deducted for an interpretive performance that is equally valid, but not the same as yours.
  7. If you are using the adjudication rubric, you will be judging the performance solely on the basis of how the performance souns. [An exception to this rule is percussion sticking that is specified in print on the music.] Although choice of fingereings/slide positions, quality of instrument, embouchure formation, etc. can affect sound, you are judging the sound. Take care in choosing your comments.
  8. Comments on a judge's sheet should serve to clarify why a score was given, and to provide feedback on the need for specific improvements. Use care when making comments to to seem hostile and/or denigrate the auditionee. You should also consider whether or not your comment(s) implies that you applied a personal bias in your adjudication. A comment which is intended to be helpful from a diagnostic/prescriptive viewpoint may be interpreted as "I did not make the band because I do not have a nice horn" or "I was not dressed nice enough", etc.
  9. Be sure yo uand your partner communicate during your judging by making sure the point spread is consistent. Talk to each other after each student, especially at the beginning.
  10. Do not take time to give a mini-lesson during the audition process. Try to move students through as quickly as possible.
  11. When judging a large number of individuals, refer to your individual judges running score sheet, in order to monitor for consistency in scoring.
  12. The procedure for sight-reading is as follows: 1) Obtain and use an electronic timer to monitor that you are giving each person 60 seconds of time to preview the sight-reading selection; 2) Say to the auditionee "Please find the sight-reading"; 3) Let the auditionee find it; 4) Say to the auditionee "You have 60 seconds to loot at it before we ask you to begin playing"; 5) WHen the allotted time is used, say to the auditionee "Please play the sight-reading."
  13. When judging scales the Judge should say "Play the (assigned major scale), starting on your (starting pitch).
  14. When judging tympani, auditionees may use a pitch pipe, bells, xylophone, etc., as a pitch source to find their bottom pitch only. The other pitch(s) must be found without the aid of any pitch reference, other than their own ears. All tympanists must audition on the instruments provided at the audition site. Electronic tuners are not to be used.
  15. Do not identify your own student to the other judge until both judges' scoring process is complete for that student.
  16. Be certain you are being objective and consistent in your scoring. It is a good practice to consult with your fellow judge and to issue scores which are generally close. A scoring discrepancy between you and your fellow judge raises the question "What is his/her personal bias?"
  17. Middle School brass players may find their first pitch. Do not indicate whether or not it is the correct pitch.
  18. If a student scores a total score that is below 75, they may be excluded from the band at the judges' discretion.
  19. Each judge should initial any changes on the judges sheets.
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