Senior Trombone: Audition Solo 3C, Andante cantabile
Notice tempo and any other markings for performance such as sempre dolce. Create smooth consistent connections between all notes. Shape the phrases with the contour of the line. Most of the notes are not long enough in duration to add vibrato, but there are a few opportunities on the longer notes. Maintain a feeling of ease when ascending and make gentle attacks on the first notes of bars 5 and 6. Something that may help with this is to avoid taking breaths in bar 5 and 6 during the rests. This will eliminate any reset that comes with breathing for the high entrance in bar 5 and 6. This results in longer phrases but often reduces chips on entrances in the upper register.
Allegro agitato is a different tempo and style with lots of variety of articulation and dynamics. Bar 9 begins mp like the Andante cantabile section but articulations are much different and there is a big crescendo to bar 4. Don’t over do it on the f – save room for the ff later - but stay at f from bar 12 until bar 15. Bar 16 returns to mp and begins a crescendo that naturally follows the shape of the line. Bring out the accented notes from the rest throughout this section. Listen to intonation always, but especially on the scale in bar 14 and make sure there is a noticeable difference between the f sharp and the f natural in the same bar. Maintain rhythmic integrity throughout.
Andante cantabile a. and b. endings should match the style of the beginning.
Junior Trombone: Audition Solo 1B, Moderato
Notice tempo and any other markings for performance such as dolce. There are phrase marks but no breath marks. Take big breaths and play long phrases with a beautiful sound. Phrase shaping in bars 1 – 4 and some vibrato will contribute to a more interesting musical performance.
Bar 17 brings a different style as indicated by marziale – in a march style – so it should be in contrast to the first 16 measures. Bring out the articulations and dynamics as indicated. Measures 29 and 30 - marked marcato and fortissimo – should be louder and more accented than the rest of the piece. Measure 31 is a return to the dolce of the beginning and so it should match measure 1. Follow the shape of the line for dynamics. Do not chop off beat 2 of bar 36. Again, appropriate vibrato will contribute to a more interesting musical performance.
Clinic Trombone: Audition Solo 2B, Allegretto
Notice tempo and any other directions, such as brilliante and dolce for performance. Pay close attention to the variety of articulations and dynamics. There is opportunity for a lot of contrast in this piece. Pay attention to the dotted eighth/sixteenth rhythms and make sure they are accurate – do not turn them into triplet feel pattern.
Begin strong and secure. Resist the temptation to slow down in bar 5 at dolce but make contrasts in dynamics and articulation. Some vibrato in the dolce sections will help to create contrast and sweetness. Listen for intonation throughout, but especially in bars 9 – 12. Bar 13 is a return to the same style as the beginning. Bars 17 - 20 should bring a change in style more legato and gentle. Bars 21 – 24 indicate another change of style, in part, by way of articulation change. Bars 25 – 27 should be similar in style to bars 17 – 20. Bar 29 brings a return to the beginning in material and style. Observe the strong dynamic contrast from 34 to bar 35. Maintain rhythmic integrity throughout.
Download these performance notes [pdf].