TMF Orchestral Institute - Preliminary Auditions

TMF 2016 Orchestral Institute Information and Requirements

  • Applicants must be between the ages of 18 – 30.
  • Faculty may give preference to applicants who have not already attended the festival for more than two consecutive years.
  • Applicants who are not U.S. citizens and are not already in the U.S. on an F or J visa valid through July 3, 2016 are required to apply for a J-1 visa to attend TMF. English proficiency is also required – all rehearsals, sectionals, lessons, master classes are held in English.
  • Applicants have the option of attending a live audition (video recorded for faculty review) or submitting a recorded audition (video file only - see below for more details). Letters of Recommendation are NOT required and should not be submitted.
  • The TMF Faculty and Music Director will review all auditions and applications.  We are not able to offer feedback on live or recorded auditions due to the volume of applicants.
  • Applicants will be notified of acceptance by e-mail only on or before Friday, March 18, 2016. Acceptance deadline (including returning acceptance paperwork and paying $300 registration fee) is Tuesday, March 29, 2016.
  • All accepted participants are required to participate in TMF for the full four-week period (June 3 – July 2, 2016) without absences. No leave of absence will be granted.

Live Audition Application Deadline
Thursday, January 21, 2016

NOTE: Limited percussion live auditions available in all cities except Dallas, New York City and Rochester, NY. 

The Texas Music Festival Orchestral Institute will accept applications for live auditions online only through DecisionDesk.   Letters of Recommendation are NOT required and should not be submitted.

  • Applicants are strongly encouraged to apply well before the Thursday, January 21, 2016 deadline. The TMF office will contact you by e-mail to schedule your audition after receiving your application. Auditions are scheduled on a first-come, first-served basis. Applying by the deadline does not guarantee a live audition. Many cities have high demand and fill up before the application deadline. There is limited availability for percussion auditions in cities where non-percussion auditions are also offered on the same day.
  • Live auditions are conducted by a single member of the TMF staff and are video recorded for review by TMF faculty and the Music Director.
  • Refunds are not given for auditions cancelled due to weather.

Please contact DecisionDesk (support@decisiondesk.com), NOT THE TMF OFFICEif you have problems with submitting your application. The application fee is $75 and is payable by credit card through the TMF DecisionDesk portal. NOTE: the $75 application fee will be listed on your credit card statement as a charge from Stripe.com.

TMF 2016 Orchestral Institute live auditions will be held in the following cities:

  • Baltimore, MD
    Sunday, January 24, 2016
    Peabody Conservatoy
    Directions/Parking Information for Peabody
    Please arrive no earlier than 30 minutes prior to assigned audition time.
    Non-percussion live auditions will take place in Joe Byrd Hall from 9:20 a.m. - 3:40 p.m.
    Percussion live auditions will take place in the Percussion Studio from 4:00 - 6:00 p.m. Percussion applicants must bring their own snare drum, snare stand, and tambourine to the audition. All other percussion instruments will be provided.
    Leakin Hall practice rooms and Room L119 will be available for warm-up.
  • Rochester, NY (percussion auditions not available at this location) AS OF 1/21/16-  AUDITIONS FULL. (Select another city, submit a recorded audition, or email mfmccrimmon@uh.edu to be put on wait list)
    Monday, January 25, 2016
    Eastman School of Music
    Directions/Parking Information for Eastman
    Eastman Parking Details: The East End Garage is currently accessible from Scio St or Main St. Parking rates vary from $4 to $8 in the East End Garage, but plan to have cash on hand due to construction in and restructuring of this garage. There is also a surface parking lot at Main St and Gibbs St, across from the YMCA/Student Life, which takes cards at pay-by-foot machines. Rates there run around $5. There is also minimal street parking near the school for 1-2 hour increments.
    Please arrive no earlier than 30 minutes prior to assigned audition time.
    Because of space limitations there is not a dedicated warm-up room in the Student Living Center, but applicants can usually find a practice room prior to their audition in the Annex building, attached by pedestrian bridge to the 2nd, 3rd, and 4th floor of the main building (see campus map link above.)
    Live auditions will take place in Ciminelli Formal Lounge in the Eastman Commons Student Living Center.
  • New York, NY (percussion auditions not available at this location) AS OF 1/21/16-  AUDITIONS FULL. (Select another city, submit a recorded audition, or email mfmccrimmon@uh.edu to be put on wait list)
    Saturday, January 30, 2016
    The National Opera Center
    330 Seventh Avenue
    New York, NY 10001
    Directions to The National Opera Center
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Studios 801 and 803 will be used as individual warm-up rooms.
    Live auditions will be held in The Charles MacKay Learning Center, located on the 8th floor.
  • Dallas, TX (percussion auditions not available at this location) 
    Sunday, January 31, 2016
    Southern Methodist University
    Directions to Southern Methodist University
    Parking Instructions: Park on South side of the Meadows School of Music. H Lot, from Bishop Blvd. or Hillcrest. Gates will be up. Enter Meadows School from South side of building. Meadows School Operations Office at the top of stairwell if you have any questions.
    Please arrive no earlier than 30 minutes prior to assigned audition time.
    Live auditions will take place in Owens Arts Center, Room 1110
    SMU Practice Rooms will be available for warm-up and are located around the corner from the Band Hall and down the stairs
  • Los Angeles, CA
    Wednesday, February 3, 2016
    The Colburn School
    Directions/Parking Information for Colburn
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Practice Rooms G-168 and G-174 will be available for non-percussion individual warm-up rooms.  These practice rooms are located on the lower level of the Grand Building (the same building as Mayman Hall).
    Percussion Practice Room O-260 will be available for a group percussion warm-up room from 8:30 a.m. - 12 p.m. Percussion applicants must bring their own snare drum, snare stand, and tambourine to the audition. All other percussion instruments will be provided.
    Percussion auditions will take place in Mayman Hall from 9:00 a.m. - 12:00 p.m. Non-percussion live auditions will take place in Mayman Hall from 12:40 - 4:00 p.m. NOTE: All cellists are required to avoid damage to the wood floor through the use of rock stops, straps, or similar items.
  • Boston, MA (no percussion auditions on this date): AS OF 1/13/16- NON-PERCUSSION AUDITIONS FULL. (Non-Percussion Audition Applicants: Select another city, submit a recorded audition, or email mfmccrimmon@uh.edu to be put on wait list)
    Saturday, February 6, 2016
    Boston University
    College of Fine Arts - School of Music
    Directions/Parking Information for BU
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    A group warm-up room will be available in Room 167, located on the first floor.
    Live auditions will be held in The Marshall Room.
  • Boston, MA (percussion auditions only on this date)
    Sunday, February 7, 2016
    Boston University
    College of Fine Arts - School of Music
    Directions/Parking Information for BU
    Applicants must bring their own snare drum, snare stand, and tambourine to the audition. All other percussion instruments will be provided.
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    A group warm-up room will be available.
    Live auditions will be held in Percussion Suite Room G.
  • Houston, TX:  AS OF 1/21/16- NON-PERCUSSION AND PERCUSSION AUDITIONS FULL. (Select another city, submit a recorded audition, or email mfmccrimmon@uh.edu to be put on wait list)
    Wednesday, February 10, 2016
    University of Houston
    Moores School of Music
    Directions to UH
    Metered parking is available in Lot 16
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Rooms 242, 244 and 248 will be used as group warm-up rooms for non-percussion applicants.   Percussion warm-up is available in MSM 185 from 9:00 a.m. - 1:00 p.m. only.
    Non-percussion live auditions from 9:00 a.m. - 10:40 a.m. & 2:20 - 5:00 p.m on the Moores Opera House stage.
    Percussion live auditions only available from 11:00 a.m. - 1:00 p.m. on the Moores Opera House stage.  Percussion applicants must bring their own snare drum, snare stand, and tambourine to the audition. All other percussion instruments will be provided.
  • Cleveland, OH: AS OF 1/21/16- NON-PERCUSSION AND PERCUSSION AUDITIONS FULL. (Select another city, submit a recorded audition, or email mfmccrimmon@uh.edu to be put on wait list)
    Saturday, February 13, 2016
    Cleveland Institute of Music
    Directions/Parking Information for CIM
    Non-CIM applicants must arrive no earlier than 30 minutes prior to assigned audition time and must check in at the CIM North Security Desk upon arrival.
    Warm-up will take place in assigned practice rooms (generally practice rooms X & Y) located in the practice area in the lower level of the building.
    Non-percussion live auditions will be held in Room 210.
    Percussion auditions will be held in Percussion Studio N013 in the late afternoon only. Percussion applicants must bring their own snare drum, snare stand, and tambourine to the audition. All other percussion instruments will be provided.
  • Chicago, IL: AS OF 1/21/16- NON-PERCUSSION AND PERCUSSION AUDITIONS FULL. (Select another city, submit a recorded audition, or email mfmccrimmon@uh.edu to be put on wait list)
    Wednesday, February 17, 2016
    Roosevelt University
    Chicago College of Performing Arts (CCPA)
    Directions to Roosevelt University
    Instructions on how to find audition and warm-up rooms & CCPA Floor Map.
    Please arrive no earlier than 20 minutes prior to your scheduled audition time and bring a valid ID to show to the security desk upon arrival
    Two individual practice rooms will be available for warm-up in the AUD 927 practice room area.
    Non-percussion live auditions will take place in Opera Rehearsal Room 1450 from 8:40 a.m. - 1:20 p.m.
    Percussion live auditions only available from 2 - 4:20 p.m. in the Auditorium Building Room 1080. Percussion applicants must bring their own snare drum, snare stand, and tambourine to the audition. All other percussion instruments will be provided.
  • Ann Arbor, MI
    Saturday, February 20, 2016
    University of Michigan
    Directions to University of Michigan E.V. Moore Building (School of Music)
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Room 1370 will be available as a group warm-up room.
    Non-percussion live auditions will be held in Room 1378.
    Percussion auditions will be held in Hankinson Hall 1380. Percussion applicants must bring their own snare drum, snare stand and tambourine to the audition. All other percussion instruments will be provided.

Recorded Audition Application Deadline
Tuesday, February 23, 2016

The Texas Music Festival Orchestral Institute will accept applications and recorded auditions online only through DecisionDesk.  Please register and submit your application and audition materials before midnight (CST) on February 23, 2016Applicants who wait to apply until the deadline may experience siginificant delays when uploading their audition materials.

PLEASE NOTE: Solos and excerpts must be recorded as one video file (no audio file accepted) and must contain all audition repertoire in the order listed, WITHOUT ACCOMPANIMENT, and played in a CONTINUOUS UNEDITED SEGMENT. Please ensure that your audition conforms strictly to these requirements.

DecisionDesk accepts the following format types:

  • Video (mpeg, mpg, mp4, mov, avi, wmv, m4v, vob) - ALL SOLOS AND EXCERPTS MUST BE SUBMITTED AS A VIDEO FILE. AUDIO FILE OF EXCERPTS OR SOLOS WILL NOT BE ACCEPTED

Please contact DecisionDesk (support@decisiondesk.com), NOT THE TMF OFFICE, if you have problems with submitting your application. The fee for submitting your application and audition video file is $75 and is payable by credit card through the TMF DecisionDesk portal. NOTE: the $75 application fee will be listed on your credit card statement as a charge from Stripe.com.

DecisionDesk can accept a video file up to 5GB in size, but you may experience some diccultites iif your video file is above 1GB. Contact DecisionDesk (support@decisiondesk.com) if that's the case and they will help you reach a solution. Upload speed is dependent upon both file size and speed of the internet connection. Be sure to upload the file using a stable internet connection, and make sure the computer does not go into sleep or hibernate mode while a file is uploading. Remember, the larger your file, the longer it will take to upload.  You can upload any resolution you would like. DecisionDesk does not recommend uploading uncompressed video, as this will be a time intensive process for you. While large HD videos can be compressed down, mp4 720p or similar is best. 


TMF 2016 Orchestral Institute Audition Requirements

  • Each instrument requires specific excerpts and solos. NOTE: Solos are to be recorded without accompaniment.
  • Specific excerpts are listed for piccolo, English horn, E-flat clarinet, bass clarinet and contrabassoon.  Auxiliary instrument auditions are not required for the preliminary auditions.  However, it is expected that all auxiliary instrument responsibilities/opportunities will be shared in each section:
    All flute participants are expected to bring a piccolo, if you have one.

    All oboe participants are expected to bring an English horn, if you have one, and reeds and the equipment needed to make new English horn reeds. Bring a device for supporting the weight of the instrument, if needed.

    In addition to B-flat and A instruments, all clarinet participants are also expected to bring E-flat and bass clarinet instruments and/or mouthpieces, if you have one.

    All bassoon participants are expected to bring a contrabassoon, if you have one, and contrabassoon reeds and equipment to make new reeds. Bring a device for supporting the weight of the contrabassoon, if needed.
  • RECORDED AUDITION APPLICANTS: Solos and excerpts must be recorded as one video file (no audio file accepted) and must contain all audition repertoire in the order listed, WITHOUT ACCOMPANIMENT, and played in a CONTINUOUS UNEDITED SEGMENT. Please ensure that your audition conforms strictly to these requirements.

Please make a selection:

Downloadable/printable excerpts require the free Adobe Reader.

Strings

Violin

Solos: One movement of solo Bach (with repeats) and one movement from a standard concerto.

Excerpts (printable version):

  • StraussDon Juan

    Beginning – end of first page

  • Mozart Symphony No. 39

    Movement II: Beginning – measure 27 (no repeats)

  • Mendelssohn Scherzo from A Midsummer Night's Dream

    Beginning – 7 measures after Letter D

Viola

Solos: One movement of solo Bach without repeats and one movement from a standard concerto.

Excerpts (printable version):

  • Beethoven Symphony No. 5

    Movement II: measures 1 – 10

  • Mendelssohn Scherzo from A Midsummer Night's Dream

    Beginning – Letter D

  • Strauss Don Juan

    Beginning – 9 after Letter B

Cello

Solos: One movement of a Bach Cello Suite without repeats and 3-5 minutes of a standard concerto movement.

Excerpts (printable version):

  • Beethoven Symphony No. 5

    Movement II: measures 1 – 10; 49 – 59; 98 – 106

  • Mozart Symphony No. 35 

    Movement IV: measures 134 – 197

  • StraussDon Juan

    Measures 1 – 9
    Letter C – Letter D

Double Bass

Solos: One movement from a Bach Cello Suite (no repeats)

AND

The first movement from one of the following concertos:

Bottesini Concerto No. 2 (beginning to measure 58)

Dragonetti Concerto (beginning to measure 57)

Dittersdorf Concerto No. 2 (beginning to measure 98)

Koussevitzky Concerto (beginning to measure 77)

Vanhal Concerto (beginning to measure 83)

Excerpts (printable version):

  • Beethoven Symphony No. 5

    Movement III: Beginning – 5 measures after Rehearsal Letter A

  • Brahms Symphony No. 1

    Movement I: Letter E – second ending

  • Mozart Symphony No. 40

    Movement I: melody before Letter C – 5 measures after Letter C

  • StraussEin Heldenleben

    Rehearsal Number 9 – Rehearsal Number 11

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Woodwinds

Flute

Solos: Exposition from the first movement of either Mozart D or G Major Concerto.

Excerpts (printable version):

  • Beethoven Symphony No. 7

    Movement I: 19th measure after Letter A (start on the C-natural, 2nd 16th of the measure) - 4 measures before Letter B (end on the half note C-natural)

    Pick-up note to the Vivace (11 measures after Letter B) and continue for 26 measures to fermata D-natural.

  • Mendelssohn Scherzo from A Midsummer Night's Dream

    2 before Letter P – 23 after Letter Q

  • Ravel Daphnis et Chloé 

    Suite II: Rehearsal Number 176 – Rehearsal Number 179

Piccolo

Excerpts (included in the printable Flute Prelim Excerpts above):

  • Ravel Mother Goose Suite 

    Rehearsal Number 1 – 5 measures after Rehearsal Number 2

  • RossiniSemiramide Overture

    Third Excerpt: 8 before Letter U – Letter U

Oboe

Solo:

  • Mozart Concerto for Oboe in C Major, K.314

    Movement I: Exposition

Excerpts (printable version):

  • Brahms Violin Concerto in D Major

    Movement II: Beginning – measure 32

  • Mendelssohn Scottish Symphony

    Movement II: Pick-up to Letter A – downbeat of Letter B
    17 measures after Letter B – 13 measures after Letter C

  • RavelLe Tombeau de Couperin

    Opening – Movement I: Beginning – Rehearsal Number 2
    Movement III: Beginning – Rehearsal Number 4 (no repeats)

English horn

Excerpt (included in the printable Oboe Prelim Excerpts above):

  • DvorakSymphony No. 9

    Movement II: measures 7 – 18

Clarinet

Solo:

  • Mozart Clarinet Concerto in A major, K.662

    Movement I: Exposition

Excerpts (printable version):

  • Respighi Pini di Roma

    I pini del Gianicolo: excerpt provided

  • Stravinsky The Firebird Suite (1919)

    Variation de l'oiseau de feu: complete

  • Rimsky-Korsakov Scheherazade

    Movement III: Pìu mosso grazioso (as marked)

  • Beethoven Symphony No. 6

    Movement I: measures 418 – 438 and 476 – 482
    Movement II: measures 68 – 77

  • MendelssohnScherzo from A Midsummer Night's Dream

    Excerpt provided

E-flat Clarinet  

Excerpts (included in the printable Clarinet Prelim Excerpts above):

  • BerliozSymphonie fantastique

    Rehearsal Number 63 – 5 measures after Rehearsal Number 64

  • StraussTill Eulenspiegel’s Merry Pranks

    7 measures before Rehearsal Number 29 – Rehearsal Number 32
    5 measures after Rehearsal Number 38 – 4 measures before Rehearsal Number 41

Bass Clarinet  

Excerpts (included in the printable Clarinet Prelim Excerpts above):

  • GroféGrand Canyon Suite
    3. On the Trail: Rehearsal Number 2 – Rehearsal Number 3
    8 measures before Rehearsal Number 13 – 4 measures after Rehearsal Number 13
  • Liszt Tasso Lamento e Trionfo

    Letter B: both solos

Bassoon

  • Mozart Concerto for Bassoon in B-flat Major K. 191

    Movement I: Exposition

Excerpts (printable version)

  • Tchaikovsky Symphony No. 4

    Movement II: measures 274 – end

  • Mozart Overture to The Marriage of Figaro

    Measures 139 – 171

  • Rimsky-KorsakovScheherazade

    Movement II: measure 5 - Letter A (measure 26)

  • StravinskyThe Rite of Spring

    Beginning – Rehearsal Number 4
    Rehearsal Number 12 for four measures

  • RavelBolero

    Two measures after Rehearsal Number 2 - Rehearsal Number 3

Contrabassoon

Excerpts (included in the printable Bassoon Prelim Excerpts above):

  • Beethoven Symphony No. 5

    Movement IV: 1 measure before Letter A – 5 measures after Letter B

  • RavelMother Goose Suite

    Movement IV: Rehearsal Number 2 – 12 measures before Rehearsal Number 4

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Brass

Horn

Solo:

  • Mozart Concerto No. 4 in E-flat Major

    Movement I: Exposition

Excerpts (printable version - all Horn I parts except when otherwise noted):

  • Beethoven Symphony No. 7

    Movement I: measures 84 – 103

  • Mahler Symphony No. 1 (Horn II)

    Movement III: 4 measures after Rehearsal Number 13 – 2 measures after Rehearsal Number 14

  • Ravel Pavane for a Dead Princess

    Solo: Measures 1 – 11

  • Strauss Eine Alpensinfonie (Horn II)

    Rehearsal Number 63 – Rehearsal Number 66

  • StraussTill Eulenspiegel

    Opening Solo

Trumpet

Solo: no solo is required

Excerpts (printable version):

Applicants may use a piccolo trumpet for the last Petrushka excerpt if they wish. All other excerpts to be performed on a Bb or C trumpet

  • Respighi Pini di Roma

    Excerpts provided (offstage solo & 1st mvt. muted passage)

  • Strauss Eine Alpensinfonie

    Excerpts provided

  • Stravinsky Petrouchka

    Excerpts provided

Tenor Trombone

Solo:

  • BachSuite No. 3 in C for Solo Cello, Bouree No. 1 (no repeats)
  • David Concertino in E-flat major, Opus 4

    Movement I: Letter A – Letter C

Excerpts (printable version):

  • Berg Three Pieces for Orchestra

    Movement I opening: measure 9 – measure 14 (1st Trombone part played on alto trombone)

  • Strauss Ein Heldenleben

    2 measures before Rehearsal Number 61 – 2 measures before Rehearsal Number 66 (2nd trombone part)

  • RavelBolero

    Solo – Rehearsal Number 11

  • WagnerDie Walkure

    Pick-up to Rehearsal Number 3 – 2 measures before Rehearsal Number 4
    Pick-up to Rehearsal Number 5 – 3 measures after Rehearsal Number 6

Bass Trombone

Solo:

  • BachSuite No. 5 in C minor for Solo Cello, Sarabande (no repeats)
  • BozzaNew Orleans

    Beginning – downbeat of Rehearsal Number 4

Excerpts (printable version):

  • Strauss Ein Heldenleben

    1 measure after Rehearsal Number 61 – 1st measure of Rehearsal Number 65

  • Haydn The Creation

    Chor und Terzett: Beginning – Letter C

  • Respighi Fontane di Roma

    Pickup to Rehearsal Number 11 – 9th measure of Rehearsal Number 15

  • WagnerDie Walkure

    III. Aufzug/Scene I: Measures 36 – 44 & Measures 123 – 140

Tuba

Solo: no solo is required

Excerpts (printable version):

  • TchaikovskyRomeo and Juliet

    Rehearsal Letter S – 3rd measure of Rehearsal Letter U

  • WagnerIntroduction to Act III of Lohengrin

    Main theme (both octaves), as marked on the accompanying excerpt

  • Berlioz Symphonie fantastique

    Mvt. IV (March to the Scaffold): Measure 89 – measure 135

  • RespighiFontane di Roma

    Pick-up to Rehearsal Number 11 – 10th measure of Rehearsal Number 15

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Harp

Please note that TMF does not provide a harp for live auditions.

Solo: A solo from standard solo repertoire of no more than 5 minutes

One of the following cadenzas:

  • Ravel Tzigane
  • Tchaikovsky Suite from Swan Lake

Excerpts (printable version):

  • BerliozSymphonie fantastique

    Movement II: Beginning – Animato

  • BrittenYoung Person's Guide to the Orchestra

    Cadenza and Fugue

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Percussion

Excerpts (printable version):

Timpani

  • Britten The Young Person's Guide to the Orchestra

    Variation M (beginning - measure 11)

  • Tchaikovsky Romeo and Juliet

    9 measures after Rehearsal Letter O – 2 measures after Rehearsal Letter P

Snare Drum

  • Prokofiev Lieutenant Kije

    Movement I: Rehearsal Number 13 – END

  • Shostakovich Symphony No. 10

    Movement II: Rehearsal Number 98 – END

Xylophone

  • Stravinsky Petrouchka (1947 version)

    1 after Rehearsal Number 88 – 2 before Rehearsal Number 91

  • Britten The Young Person's Guide to the Orchestra

    Variation M (excerpt provided)

Glockenspiel

  • RespighiPini di Roma

    Beginning – 15 before Rehearsal Number 3

Marimba

  • Bach Partita No. 1 in B minor

    Bouree: 1st 20 measures

Cymbals

  • Tchaikovsky Romeo and Juliet

    2 before Rehearsal Letter O – 7 before Rehearsal Letter P

Tambourine

  • Stravinsky Petrouchka (1947 version)

    3 after Rehearsal Number 201 – 1 after Rehearsal Number 206

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