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TMF Orchestral Institute - Preliminary Auditions

Live Audition Application Deadline
Thursday, January 17, 2019

The Texas Music Festival Orchestral Institute is accepting applications for live auditions online only via Acceptd .  Letters of Recommendation are NOT required and should not be submitted.

  • Applicants are strongly encouraged to apply well before the Thursday, January 17, 2019 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 other orchestral instrument 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.

Live auditions will be held in the following cities:

  • Houston, TX (percussion auditions only) 
    Friday, January 18, 2019
    Rice University
    Directions/Parking Information for Rice University Shepherd School of Music
    Please arrive no earlier than 20 minutes prior to your audition.
    Auditions will take place in the Percussion Studio from 1:30 - 5:00 p.m.
    Percussion applicants must bring their own snare drum and snare stand to the audition. All other percussion instruments will be provided.
  • Pittsburgh, PA  
    Sunday, January 20, 2019
    Carnegie Mellon University
    Directions to College of Fine Arts at CMU
    Parking is available in the East Campus Parking Garage - entrance off of Forbes, between Morewood and Beeler.
    Please arrive no earlier than 20 minutes prior to assigned audition time.
    Auditions for all orchestral instruments will take place in Alumni Concert Hall.
  • Miami, FL  
    Thursday, January 24, 2019
    University of Miami
    Directions/Parking Information for Frost School of Music at University of Miami
    Please arrive no earlier than 20 minutes prior to assigned audition time.
    Auditions for all orchestral instruments will take place in Patricia Louise Frost South Room 120.
  • Boston, MA
    Monday, January 28, 2019
    New England Conservatory
    Directions/Public Transportation Information for NEC
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Room JHB08 will be available for Percussion Audition warm-up.
    Percussion auditions will take place in Room JHB10 from 9:00 a.m. - 12:00 p.m.
    Percussion applicants must bring their own snare drum and snare stand to the audition. All other percussion instruments will be provided.
    Rooms JH102 and JH103 will be available for warm-up for all other orchestral instruments.
    Auditions for all other orchestral instruments will take place in JH118 from 12:00 - 5:30 p.m.
  • Cleveland, OH (percussion auditions not available)
    Saturday, February 2, 2019
    Cleveland Institute of Music
    Directions/Parking Information for CIM
    Non-CIM applicants must arrive no earlier than 20 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.
    Auditions will take place in Room TBD.
  • Los Angeles, CA
    Wednesday, February 6, 2019
    The Colburn School
    Directions/Parking Information for Colburn
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Non-percussion auditions will take place in Mayman Hall from 9:30 a.m. - 1 p.m. NOTE: All cellists are required to avoid damage to the wood floor through the use of rock stops, straps, or similar items.
    Non-percussion individual warm-up is available in G-168 or the Mayman Green Room.
    Percussion auditions available from 1:30 p.m. - 4:00 p.m. in the Percussion Studio.
    Percussion applicants must bring their own snare drum and snare stand. All other percussion instruments will be provided.
    G-172 is available for percussion warm-up from 1 - 4 p.m., however, percussion instruments will likely not be available.
  • Cincinnati, OH
    Sunday, February 10, 2019
    University of Cincinnati College-Conservatory of Music
    Directions to CCM and Parking Information
    Please arrive no earlier than 20 minutes prior to your scheduled audition time.
    Percussion auditions will take place in Room 1340 from 9:30 - 11:45 a.m.
    Percussion applicants must bring their own snare drum and snare stand to the audition. All other percussion instruments will be provided.
    Auditions for all other orchestral instruments will take place in Werner Recital Hall from 12:30 - 4:45 p.m.
    Warm-up Rooms TBD.
  • Houston, TX (percussion auditions not available)
    Wednesday, February 13, 2019
    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 and 248 available for warm-up.
  • Bloomington, IN (percussion auditions not available)
    Friday, February 15, 2019
    Indiana University
    Directions/Parking Information for Jacobs School of Music
    Please arrive no earlier than 20 minutes prior to assigned audition time.
    Auditions will take place in Room JS234 in the Music East Studio Building.
  • Ann Arbor, MI 
    Saturday, February 16, 2019
    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 TBD will be available as a group warm-up room.
    Auditions for all orchestral instruments will take place in Room TBD.
    Percussion applicants must bring their own snare drum and snare stand. All other percussion instruments will be provided.
  • Chicago, IL 
    Sunday, February 17, 2019
    Roosevelt University
    Chicago College of Performing Arts (CCPA)
    Directions to Roosevelt University
    CCPA Floor Map.
    All applicants are required to bring a valid ID to show to the security desk upon arrival.
    Please arrive no earlier than 20 minutes prior to assigned audition time.
    There is no percussion warm-up room available.
    Percussion auditions available from 9:30 a.m. - 12:00 p.m. in the Auditorium Building Room 1080. Percussion applicants must bring their own snare drum and snare stand to the audition. All other percussion instruments will be provided.
    Auditions for all other orchestral instruments will take place in Opera Rehearsal Room 1450 from 1:00  - 4:30 p.m.
    Room 178 (Orchestra Rehearsal Room) is available as a group warm-up room for all other orchestra instruments from 12:30 - 4:30 p.m. and is located on the 1st floor of the Auditorium Building.
  • Rochester, NY (percussion auditions not available) 
    Tuesday, February 19, 2019
    Eastman School of Music
    Directions/Parking Information for Eastman
    Please arrive no earlier than 20 minutes prior to assigned audition time.
    Because of space limitations there is not a dedicated warm-up room in the Student Living Center, but you 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.)
    Auditions will take place in Ciminelli Formal Lounge in the Eastman Commons Student Living Center.

Dates for live auditions in Dallas & New York City to be posted soon.

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Recorded Audition Application Deadline
Friday, February 22, 2019

The Texas Music Festival Orchestral Institute will accept applications and recorded auditions online only via Acceptd Applicants who wait to apply until the deadline (11:59 p.m. CST on February 22, 2019) 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.

2019 Preliminary Audition Requirements

  • Each instrument requires specific excerpts and solo requirements. NOTE: Solo to be recorded without accompaniment.
  • Specific excerpts may be 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.

Strings

Violin

Solo: Exposition from the first movement of a standard concerto

Excerpts ( printable version):

  • Strauss Don 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

Solo: Exposition from the first movement of a standard concerto

Excerpts ( printable version):

  • Shostakovich Symphony No. 5

    Movement I: 1 measure after Rehearsal Number 15  – Rehearsal Number 17

  • Mendelssohn Scherzo from A Midsummer Night's Dream

    Beginning – Letter D

  • Strauss Don Juan

    Beginning – 9 after Letter B (omit pizzicato measures)

Cello

Solo: Exposition from the first movement of a standard concerto

Excerpts ( printable version):

  • Beethoven Symphony No. 5

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

  • Strauss Don Juan

    Beginning – 5 measures before Letter D

Double Bass

Solos: One movement from a Bach Cello Suite without 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: measures 114 – 138

  • Strauss Ein 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 are from Theodore Presser's Orchestral Excerpts for Flute ( printable excerpt list)

  • Beethoven Symphony No. 4

    Movement II: 1 measure before Rehearsal Letter E – 8 measures after Rehearsal Letter E (measure 64 – measure 72)

  • Mendelssohn Symphony No. 4 (Italian)

    Movement IV - Saltarello: Measures 1 – 34

  • Prokofiev Symphony No. 1

    Movement II: Rehearsal Letter B – end of 1st measure of Rehearsal Letter C

    Movement IV: 2 measures before Rehearsal Letter A – 4 measures after Rehearsal Letter B

  • Strauss Salome's Dance

    2 measures before Rehearsal Letter D – Rehearsal Letter G

  • Stravinsky Symphony in Three Movements

    Movement II: 2 measures before 114 – 2 measures after 119

Piccolo

Excerpts from Walfrid Kujala’s Orchestral Techniques for Flute and Piccolo: An Audition Guide

  • Ravel Mother Goose Suite

    Rehearsal Number 1 – 5 measures after Rehearsal Number 2

  • Rossini Semiramide Overture

    8 before Rehearsal Letter U – Rehearsal 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

  • Ravel Le 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 Preliminary Excerpts above):

  • Dvorak Symphony No. 9

    Movement II: measures 7 – 18

Clarinet

Solo:

  • Mozart Clarinet Concerto in A major, K.662

    Movement I: measures 57 - 98

Excerpts ( printable version):

  • Beethoven Symphony No. 8

    Movement III: measure 48 – end of movement (no repeat)

  • Berlioz Symphonie fantastique

    Movement III: 2 measures after Rehearsal No. 43 – Rehearsal No. 44 (Clarinet I in Bb)

    Movement IV: Rehearsal No. 56 – Rehearsal No. 57 (Clarinet I in C)

  • Mahler Symphony No. 6

    Movement III: measures 139 – 153

  • Mendelssohn Scherzo from A Midsummer Night's Dream

    Beginning – Rehearsal Letter B

  • Puccini Tosca

    Andante lento appassionato solo for 15 bars

  • Rimsky-Korsakov Scheherazade

    Movement II: Rehearsal Letter F –Rehearsal Letter G (cadenzas)

    Movement III:Rehearsal Letter D –Rehearsal Letter F

  • Kodaly Dances of Galanta

    Measures 31 –66 (cadenza)

E-flat Clarinet  

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

  • Berlioz Symphonie fantastique

    Rehearsal Number 63 – 5 measures after Rehearsal Number 64

  • Strauss Till 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 Preliminary Excerpts above):

  • Grofé Grand Canyon Suite
    3. On the Trail: Rehearsal Number 2 – Rehearsal Number 3
                           8 measures before Rehearsal Number 13 – 4 measures after Rehearsal Number 13

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-Korsakov Scheherazade

    Movement II: measure 5 - Rehearsal Letter A
                         2nd measure of Rehearsal Letter L – Rehearsal Letter M

  • Berlioz Symphonie fantastique

    Movement IV: measures 25 – 63 (skip long rests)

    Movement V: measures 47 – 78

  • Dukas The Sorcerer's Apprentice

    Rehearsal Number 43 – 10 measures after Rehearsal Number 45

Contrabassoon

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

  • Beethoven Symphony No. 5

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

  • Ravel Mother Goose Suite

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

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Brass

Horn

Solo:

  • MozartConcerto No. 4 in E-flat Major

    Movement I: Exposition

Excerpts (printable version to be posted soon- all Horn I parts except when otherwise noted):

  • BrahmsSymphony No. 3

    Movement III: measures 97 – 110

  • MahlerSymphony No. 1 (Horn II)

    Movement III: four after Rehearsal Number 13 – Rehearsal Number 15

  • ShostakovichSymphony No. 5

    Movement I: three after Rehearsal Number 17 – one after Rehearsal Number 21

  • RavelPavane for a Dead Princess

    Opening Solo: Measures 1 – 11

  • StraussTill Eulenspiegel

    Opening Solo

  • Rimsky-KorsakovScheherazade

    Movement II: 12 measures after Rehearsal Letter Q – Rehearsal Letter R

Trumpet

Solo: no solo is required

Excerpts to be played in this order ( printable version):

  • Copland Fanfare for the Common Man

    Measures 6 – 21

  • Rimsky-Korsakov Scheherazade

    Movement III: Rehearsal Letter G – 1 measure after Rehearsal Letter H

    Movement IV: 1 measure before Rehearsal Letter C – Rehearsal Letter D
                         6 measures before Rehearsal Letter Q – Rehearsal Letter R
                         Rehearsal Letter T – Rehearsal Letter U

  • Mahler Symphony No. 6

    Movement I: 5 measures before Rehearsal Number 3 for 3 measures

    Movement IV: 3 measures before Rehearsal Number 142 – 10 measures after Rehearsal Number 142 (Trumpet 5)

  • Stravinsky Petrouchka

    Ballerina's Dance: 1 bar before Rehearsal Number 134 – 139

Tenor Trombone

Solos (BOTH):

  • Bach Suite 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):

  • Mozart Requiem

    Tuba mirum: 2nd trombone solo (beginning – measure 18)

  • Strauss Ein Heldenleben

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

  • Ravel Bolero

    Solo – Rehearsal Number 11

  • Wagner Die 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

Solos (BOTH):

  • Bach Suite No. 5 in C minor for Solo Cello, Sarabande (no repeats)
  • Bozza New 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

  • Wagner Die Walkure

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

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Tuba

Solo: Please play a brief cantabile selection (2 - 3 minutes)

Excerpts ( printable version):

  • Mahler Symphony No. 6

    Movement I: Rehearsal Number 27 – 2nd measure of Rehearsal Number 29

    Movement IV: Rehearsal Number 104 for 12 measures

  • Berlioz Symphonie fantastique

    Movement IV: Rehearsal Number 56 – 6th measure of Rehearsal Number 57

  • Rimsky-Korsakov Scheherazade

    Movement IV: Rehearsal Letter M – Rehearsal Letter N
                         Rehearsal Letter W – Allegro non troppo (47 measures)

  • Wagner Ride of the Valkyries

    Complete Excerpt

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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

Cadenzas (BOTH):

  • Ravel Tzigane
  • Tchaikovsky Suite from Swan Lake

Excerpts ( printable version):

  • Berlioz Symphonie fantastique

    Movement II: Beginning – Animato

  • Britten Young Person's Guide to the Orchestra

    Cadenza and Fugue

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Percussion

Excerpts (printable version to be posted soon):

Timpani

  • Beethoven Symphony No. 1

    Movement III: Pick up to Rehearsal Letter A – bar 79

  • Berlioz Symphonie fantastique

    Movement IV (Timpani II): Beginning – downbeat of measure 17

Snare Drum

  • Rimsky-Korsakov Scheherazade

    Movement III: Rehearsal Letter D – Rehearsal Letter E

    Movement IV: Rehearsal Letter P – Rehearseal Letter R

Marimba

  • Bach Lute Suite in E Minor

    Allemande: Beginning – Double Bar with no repeat

Xylophone

  • Kolday Hary Janos

    Movement VI: Beginning – Rehearsal Number 1

Glockenspiel

  • Dukas The Sorcerer's Apprentice

    4 measures after Rehearsal Number 17 – donwbeat of 3 measures before Rehearsal Number 20

Tambourine

  • Rimsky-Korsakov Scheherazade

    Movement IV: 29 measures after Rehearsal Letter L – 3 measures before Rehearsal Letter M

Cymbals

  • Rimsky-Korsakov Scheherazade

    Movement IV: 29 measures after Rehearsal Letter W – 37 measures after Allegro non troppo e maestoso

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