The Audition Method for Clarinet - Volume 1
Expected to ship in 1-2 weeks.
- Instrumentation: Clarinet
- ISBN:
- Pages: 144
Description
"Insightful and, most importantly, practical, The Audition Method provides the essentials that every clarinetist surely needs to play the very best orchestral audition."
—Gregory Smith, Clarinetist Chicago Symphony Orchestra
The Audition Method for Clarinet is for aspiring and established clarinetists looking to win orchestral auditions. Clarinetists can use this book throughout the entire process of preparing for an audition, including at the audition itself.
In this volume Benjamin Baron, in collaboration with Mark Nuccio, provide core clarinet audition repertoire in three versions: the excerpt as it appears in the real part, an annotated version, and a version to use in the audition. All annotations are carefully made in blue ink for ease of reading.
Nuccio and Baron provide detailed information about preparing for each piece, as well as primary and secondary points of interest when preparing an audition. They also provide a number of practice exercises aimed at overcoming specific challenges of each excerpt.
The Audition Method is truly an invaluable aid that has the potential to transform and improve the entire audition experience.
Repertoire: Mozart Clarinet Concerto; Beethoven Symphony No. 4, II and No. 4, IV; Beethoven Symphony No. 6, I, No. 6, II, and No. 6, III; Beethoven Symphony No. 8, III; Brahms Symphony No. 3, I Excerpt 1 and Excerpt 2; Brahms No. 3, II; Mendelssohn Scherzo from A Midsummer Night's Dream ; Respighi Pines of Rome , III; Rimsky-Kosakov Capriccio Espagnole, I, III, and IV; Schubert Symphony No. 8, II; Shostakovitch Symphony No. 9, II and No. 9, III.
Mark Nuccio has been the Principal Clarinetist of the Houston Symphony since 2016. Prior to that, he was a member of the New York Philharmonic for seventeen years and held positions in Pittsburgh, Denver, Savannah, and Florida. He is currently on faculty at the Frost School of Music (University of Miami), and previously at Northwestern University, Manhattan School of Music, Mannes College, and Duquesne University. Mark Nuccio is a performing artist/clinician for Buffet Music Group and an Advising Artist and Clinician for D'Addario.
Benjamin Baron has performed with many of New York's finest ensembles, including the New York Philharmonic and the Metropolitan Opera Orchestra. Currently a member of the faculty and woodwind department coordinator at Montclair State University, Baron previously taught at Lehman College and was in residence at New York University with the Quintet of the Americas. Baron is a D'Addario Performing Artist and an Artist/Clinician for Buffet Music Group.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
The Audition Method for Clarinet - Volume 1
