Audition Requirements

Here are the audition requirements for the 2016-2017 Rock Ensemble.


I. VOCAL AUDITION

A. A prepared song with accompaniment by piano, guitar, small rhythm section or a karaoke/instrumental track on CD or MP3 device. Vocalists will be evaluated in each of the following areas: stage presence, tone, diction, relative pitch and rhythm.

B. Easy sight-reading to show a basic understanding of note reading and rhythms. A suggested book would be Let’s Read Music (Book 2, Volume by Rufus A. Wheeler, Published by Dickson-Wheeler, Inc., 208 First Street, Scotia, New York 12303).

C. Harmonizing the major scale in 3rds with an accompanying vocalist, up and down five steps.


II. KEYBOARD AUDITION

A. A prepared solo with or without a rhythm section accompaniment in the classical, rock or jazz style.

B. Easy sight-reading. Use any popular sheet music.

C. Chords

    Major: 7ths, 9ths 11ths, and 13ths

    Dominant: 7ths, 9ths 11ths, and 13ths

    Minor: 7ths, 9ths

    Diminished: 7ths

    Augmented: 7ths, 9ths

    Suspended: 2nds, 4ths

D. Simple improvisation over a I-IV-V chord progression in the keys of C, G, D, E, F, Bb, Eb, and Ab.

E. Major Scales: Two octaves with both hands.


III. GUITAR AUDITION

A. A prepared solo with rhythm section accompaniment in the jazz/rock style. The solo should be performed as close to the style of the solo on the commercial recording. Similar sounds (distortion, flange, or digital delay) should be utilized.

B. Easy sight-reading from the Complete Guide for the Guitar: Advancing Jazz-Pop-Rock Edition (EFM 50001S, Coffman/Webb; Ellis Family Music, 1-800-573-5547, 30 Samana Drive, Miami, FL, 33133).

C. Chords

    Major: 7ths, 9ths

    Dominant: 7ths, 9ths

    Minor: 7ths, 9ths

    Diminished: 7ths

    Augmented: 7ths

    Suspended: 2nds, 4ths

D. Easy Blues improvisation over a I-IV-V progression in any key.

E. Major Scales: 2 octaves starting on the fifth or sixth string.

F. It is suggested that the guitarist have his/her own equipment and be encouraged to develop his/her own concept of sound if not already done so.


IV. BASS AUDITION

A. A prepared bass part that has been transcribed from a popular, commercially produced recording.

B. Construct a bass line over a I-IV-V chord progression using the following:

1. Root, 5th

2. Root, 3rd, 5th

3. Root, 5th, octave

4. Root, 5th, octave, 12th

5. A basic walking bass pattern

C. Knowledge of root, 3rd and 5th in major, minor, augmented and diminished chords.

D. Easy sight-reading from Complete Guide for the Guitar: Advancing Jazz-Pop-Rock Edition (EFM 50001S, Coffman/Webb; Ellis Family Music, 1-800-573-5547, 30 Samana Drive, Miami, FL 33133).


V. DRUM AUDITION

A. A prepared piece with rhythm section accompaniment (bass, piano and/or guitar) demonstrating an idiomatic rock drum pattern with emphasis on time and dynamics.

B. Demonstrate proficiency in 5/8 meter (listen to Dave Brubeck’s Take Five).

C. Demonstrate proficiency in 6/8 meter (listen to any jazz/waltz).

D. Demonstrate proficiency in 5/8 and 6/8 alternating meters (listen to Greg Allman’s Queen of Hearts from the solo album Laid Back).

E. Sight read from Realistic Rock by Carmine Appice (Carmine Appice Enterprises, 9171 Wilshire Blvd., Suite 436, Beverly Hills, CA 90210).


VI. WIND/BRASS AUDITION

A. Any prepared solo with accompaniment, either jazz or classical.

B. Major scale played one octave through 4 sharps and 4 flats with arpeggios.

C. Sight-read in any intermediate level band instrument book.


VII. TECHNICAL CREW

Because of the electronic nature of the group and the detailed set-up procedure, it is recommended that special sound reinforcement equipment personnel be selected. The technician will have knowledge and proficiency in setting up the equipment. This process saves valuable rehearsal time, and prevents unnecessary damage to the equipment. The student will be instructed in soldering technique which includes repairing cables and cords. Organization of the equipment is very important. Technical crew members are musical and have the desire to work with sound reinforcement and sound recording equipment. Mixing signals through the sound system is very important to the overall sound of the rock ensemble. Equalization and the use of special effects are part of this very important position. Guidelines for duties are as follows:

1. Correctly wrap cables (over/under method) and properly dress a mic stand.

2. Set up and break down sound system.

3. Maintain all equipment by regularly checking cables, connectors, mic stands and speakers.

4. With teacher supervision, mix sounds by using the correct placement of mics and speakers so as to avoid audio feedback.

5. Pack up and prepare all equipment for trips.

6. Understand digital synthesizers, digital recording, digital effects, and equalizer manipulation.

 

VIII. WEBMASTER

Responsibilities

  • Knowledge of the WordPress platform, basic HTML and photo editing software.
  • Maintain Rock Ensemble website by uploading photographs, inputting weekly news updates, video and other media updates.
  • Must attend one rehearsal per week to exclusively work on the website.
  • Responsible for gathering and organizing information pertinent to the Rock Ensemble to post on the website.

 

IX. REHEARSAL & ROAD TRIP MANAGER

Responsibilities

  • Assist the director with distributing and copying sheet music, recording attendance, and generally organizing rehearsal.
  • Prepare field trip forms to meet deadline requirements prescribed by the student activities office.