Go to: (You might have to cut and paste)
http://www.mcps.k12.mt.us/portal/hhs/Departments/Music/BillHollinOrchestra/tabid/1241/Default.aspx
Sound File links on lower left. Additional files will be added soon
*******************************
ORCHESTRA SPRING CONCERT SCHEDULE
MAY 13th - HG "Pop" Concert - ADV. Orchestra
MAY 29th SE Advanced Orchestra
JUNE 3rd - HG Advanced Orchestra
JUNE 4th - HG and SE Inter. Orchestras
*******************************
District Festival Scores - Look further down!!
*******************************
ALL STATE AUDITIONS
Audition sign ups: visit Sentinel HS in the am, Hellgate HS in the pm, or call 728-2400 x6068 the last week of May to sign up. Tapings will be done the first week of June at HELLGATE. Most times will be in the EVENING.
2008 All State Strings Audition Requirements
Set “C”
Violin: Seventy-five Melodious and Progressive Studies, Op. 36, Book 1 (Mazas, pub. G. Schirmer)
1. Three-octave A Major Scale: Play sixteenth notes ascending and descending. Slur eight notes per bow. (Quarter Note = 108)
2. Three-octave A melodic minor scale: Play sixteenth notes ascending and descending detache. (Quarter-note = 92)
3. Exercise 8: Start pick-up to E Major Section. Play 16 measures and end on E. (Quarter-note = 72)
4. Exercise 23: Play the first 25 measures, follow indicated markings. (Eighth note = 96)
5. Identify and play a one minute excerpt from your solo literature.
Viola: Etudes Speciales, Op. 36, Book 1 (Mazas, pub. G. Schirmer)
1. Three-octave D Major Scale: Play sixteenth notes ascending and descending. Slur eight notes per bow. (Quarter Note = 108)
2. Three-octave D melodic minor scale: Play sixteenth notes ascending and descending detache. (Quarter-note = 92)
3. Exercise 8: Start pick-up to A Major Section. Play 16 measures and end on A. (Quarter-note = 72)
4. Exercise 23: Play the first 25 measures, follow indicated markings. (Eighth note = 96)
5. Identify and play a one minute excerpt from your solo literature.
Cello: Violoncello Method (Kummer, pub. G. Schirmer)
1. Three-octave D Major Scale: Play sixteenth notes ascending and descending. Slur eight notes per bow. (Quarter Note = 108)
2. Three-octave E melodic minor scale: Play sixteenth notes ascending and descending detache. (Quarter-note = 92)
3. Exercise 70, page 78: Play top part (Quarter note = 72)
4. Exercise 79, page 86: Play top part (Eighth note = 100)
5. Identify and play a one minute excerpt from your solo literature.
Bass: New Method for the Double Bass, Book 1 (Simandl., pub. Carl Fischer)
1. Two octave F Major Scale: Play sixtheenth notes ascending and descending, slur four notes per bow. (Quarter note = 88)
2. Two octave E melodic minor scale: Play eighth notes ascending and descending detache bowing. (Quarter-note = 72)
3. Exercise 9, page 75. (Quarter note = 82)
4. Identify and play a one minute excerpt from your solo literature.
***********************************
GRADES
Grades for Orchestra Classes are purposely weighted toward participation and effort. If you would like a detailed and QUALITATIVE evaluation of all aspects of your PLAYING, please contact me.
*******************************
Recommendations
This is the time of year that many students ask me for recommendations for College, Summer Music Study, Scholarships, etc. While I am happy to write an honest (but always positive!) evaluation for you, I will generally need two weeks to get this completed. Please provide me with:
1. A cheat sheet I can refer to of your High School accomplishments in Academics AND Music
2. The properly addressed envelope.
3. A signed WAIVER of your right to read my letter. Any other kind of written recommendadtion carries almost no weight. The reader will assume that if you will be reading the recommendation, I will then sugar-coat it. If you ask me to write a recommendation for you, you will have to trust me.
4. An understanding that once you have my recommendation, that is not the time to slack off. Everyone works, maintains commitments, and improves through graduation.
*******************************
AUDITIONS: MAKING THE MOST OF AN OPPORTUNITY
Dr. James Popejoy
Director of Bands/UND
edited: Wm. Hollin/MYS Conductor
During the course of a normal academic year, I will usually hear many students audition and test for the various ensembles I conduct. While most students do just fine, many are quite nervous and often make mistakes they could easily avoid.
Students spend a significant amount of time and energy preparing for, and participating in, auditions. As an educator, part of my responsibility is to provide these students with as much information as possible to help them through this process. Most music educators have extensive personal experience in dealing with the audition process, however we often neglect to share this valuable information with our students. We all know of students who do well with the required work in their academic classes, but do poorly on exams. Conversely, many fine musicians in our ensembles are eliminated from participating in honor groups, or from even achieving the opportunities they seek within their own school music ensembles, because they do not audition well.
What am I looking for?
For most auditions, I generally prefer to hear one or two short solo excerpts or etudes that have been prepared in advance by the student. Unless the audition music has been specified, selection of the proper music is certainly one of the most important aspects of any audition process. Most auditioners expect to hear both lyrical and technical playing from the student. While much of the solo literature available will include passages that demonstrate both of these styles of playing, it is perfectly acceptable to perform excerpts from two different solos, or use melodic etudes. Length is not usually the issue, as most auditioners can make a fairly accurate judgment in a very short time. I also usually recommend that students not change their repertoire selections immediately prior to an audition, as this will usually only cause them to be more nervous about the process.
My auditions usually include the performance of scales and sight-reading excerpts as well. Scale performance can be very helpful in determining a student’s facility, range, basic intonation, and ability to articulate cleanly. If the student has taken the time and effort to prepare their scales thoroughly ahead of time, this part of the audition can provide an opportunity for them to relax during the performance of something that is routine. I also use the scale portion of an audition to allow the student to play without the distraction of the printed music. Many auditioners believe that this part of the audition often demonstrates a student’s degree of preparation for the audition as well.
I typically will ask for students to perform a short sight-reading excerpt at an audition. While some music educators feel that this does not really show much with young performers, I disagree. If the student is proficient in sight-reading, they will typically learn music quickly and develop their skills at a faster rate. This also will allow the conductor and ensemble to move towards the actual making of “music” in a rehearsal much quicker. I have also found that some students who play their prepared excerpt with wonderful tone and technique (often due to spending an inordinate amount of time on this one selection) will play with a completely different tone and technique when asked to sight-read. Students can learn to sight-read! All it takes is a little time and effort during practice sessions. Working on sight-reading during each daily practice session (and in ensemble rehearsals) can make all the difference. As music educators, we must help our students by teaching them how to sight-read. Encouraging the student to simply take a few seconds to carefully look through the excerpt before starting would help many young musicians as well.
A final thought concerning the scale and sight-reading portion of an audition: Many times I have had students walk into an audition and say “I don’t really know my scales very well” or “you know, sight-reading has never been a strong point of mine.” In addition to not providing the proper atmosphere for the an auditioner to listen in, the student is also stating a very simple fact that has a very simple solution. I usually always try to assure the student that they will be fine, but what I would rather say to them is: “OK, if you know you don’t know your scales, or you know you are not a good sight-reader, then do something about it! Take responsibility for the things you don’t know, as soon as you know you don’t know them!” Knowledge can be a very dangerous thing in the hands of a dedicated and motivated student!
A few helpful hints:
•Take control of the situation! Present a professional image. Dress comfortably to help you perform your best, however do not wear shorts, jeans, hats, etc. An audition is also not the appropriate time to try and make a fashion statement!
•Show confidence without being “cocky.” Introduce yourself and your musical selections, carefully preparing the correct pronunciations. Speak clearly and look the audition committee members in the eye. Do not make excuses, and try to maintain a positive appearance, even if you do not play as well as you had hoped. Sell yourself to the committee!
•On the day of the audition, plan everything out as much as possible in order to give yourself the best possible opportunity for success. Arrive early and allow plenty of time to warm-up properly. Avoid over-practicing your prepared materials during the warm-up time, as this may cause you to be more nervous. Have all of the proper equipment with you, as well as extra strings, rosin, reeds and supplies. Leave your instrument case, coat, purse, etc. outside of the audition room. If something happens beyond your sphere of control on the day of the audition, do not let it affect your performance.
•Please remember that the auditioner wants nothing more than for you to do your best and succeed. Hearing an audition that has been carefully prepared and well performed is my goal as well!
***********************************
Festival Scores 2005, 2006, 2007, 2008.
Performance = 35 Maximum Total each Judge
Sight-Reading = 25 Maximum Score each Judge
***********************************
2008 Festival Scores:
Judge SA SI HA HI MYS
Hillygus 31 33 34 32 33
Mazanec 31 33 35 33 35
S-R (tot.) 46 46 25 23 25
TOTAL 108 112 115 113 117
POSS. 120 120 120 120 120
RATING I I I I I
***********************************
2007 Festival Scores:
Judge SA SI HA HI MYS
Lee 31 33 34 33 35
Lydiard 31 33 34 32 34
S-R (tot.) 46 46 47 48 48
Winds 32
TOTAL 108 112 115 113 117
POSS. 120 120 120 120 120
RATING I I I I I
*******************************
2006 Festival Scores:
Judge Event SA SI HA HI MYS
Smith Perf. 32 30 33 28 35
Harns. Perf. 34 30 34 31 35
Smith S-R 22 23 25 20 22
Harns. S-R 22 20 25 22 23
Bolstad (Winds) (31)
TOTAL 110 103 117 101 115
POSS. 120 120 120 120 120
I II I II I
*******************************
2005 Festival Scores:
Judge Event SA SI HA HI MYS
Wallace Perf. 33 31 34 32 34
Lee Perf 33 32 34 33 35
Wallace SR 22 23 25 22 22
Lee SR 22 23 23 22 23
TOTAL 110 109 116 109 114
POSS. 120 120 120 120 120
RATING I I I I I
*******************************
It was brought to my attention that not everyone understands that unlike middle school, high school students must find their own accompanists for their solos. This is because in most instances the accompaniments for high school literature is often not easily sight-readable and therefore it would be unrealistic for one pianist to be responsible for 20 or more accompaniments. Accompanists normally charge for their services and it is the responsibility of each student soloist to negotiate and pay for the accompanist's fee.
MHSA State music regulations are such that if a solo is meant to be accompanied, it must be performed that way, or the student will be docked a single numerical score and thus be made ineligible for state festival even with an otherwise perfect score.
The way around this requirement is for the student to perform a piece that is written to be played solo, WITHOUT accompaniment, such as the Bach Cello Suites or the Bach Violin Partitas.
******************************
Can't get (our) student to practice?
Qualities to look for in a good private (studio)
music teacher:
By Scott Pappal, ed. William Hollin
1.) Love of music and enthusiasm for
playing the chosen instrument.
2.) Love of helping someone else become
a better musician. One should enjoy
teaching for teaching's sake, not that
there's anything wrong with making money
teaching, it's just a fact that most music
teachers remain underpaid, as our society
does not place value arts and art instruction.
However generally speaking, the better,
seasoned music teachers will charge more
than musicians who are themselves still in
high school or college.
3. Personal competence as a musician. One
cannot teach something that one cannot do him/herself. How can one ask students to
practice what they themselves do not practice?
A teacher should lead by example.
4. An ability to diagnose and analyze musical
and physical factors in a student musician.
5. A well thought-out curriculum for leading
a student musician from total beginner to
advanced player. A good teacher leaves no
stone unturned; every aspect of playing is
to be learned: Solo, Band and/or Orchestra,
Chamber Music and even Jazz. One needs to
have a plan. A good teacher therefore has a
good idea of methods/etudes, solo material,
orchestral excerpts, technical drills, etc,
that the student should cover.
6. Good communication and organization skills
that will keep communication open between
student, teacher, and parent(s).
7. It helps to have some reasonable idea of
what students of different ages can
accomplish mentally and physically. Obviously,
there should be changes not only in level of
playing instruction, but in the language and
personal rapport used in lesson settings.
8. A balance of patience and expectation.
At times, a teacher will need to tell a student,
"this is unacceptable", or "you are not
practicing enough.” A teacher should not
set out to be a student's personal friend,
but rather, be his/her mentor and an example.
On the other hand, some skills such as bowing,
range, tonguing speed etc, are developed
gradually over time, and the teacher needs
to know to not "overpush."
9. Good teachers should be able to teach
students about all facets of music, not just
the physical aspects of playing a particular
instrument. Teachers should assign their
students score-study, CD-listening, concert
attendance, etc. They should also cover basic
theory, analysis, etc.
10. A good teacher is a resource for information
about recordings, scores, editions, music, etc.
A good private teacher should know the
school-program band/orchestra directors in your
area and be a resource to them as well. They may
offer to come in and do private teaching/sectional
rehearsals in the school setting.
****************************************************
ALL Hollin Orchestra Concert Dress:
Concert Black (See below)
****************************************************
CONCERT GRADING AND DRESS – ADVANCED ORCHESTRAS AND MYS
To earn FULL CREDIT, you must be appropriately dressed as outlined below.
Dress Code: ADVANCED ORCHESTRAS and MYS
MEN: Males will be issued a Tuxedo Coat,
and Pants for the year. Men should supply
their own white shirt, all-black dress shoes,
and black socks.
WOMEN:
COLOR: All Black
STYLE: Dress or skirt and blouse
LENGTH: Tea length (calf) or Floor length
NOTHING ABOVE THE KNEE)
SLEEVES: Must have sleeves. NO SLEEVELESS
SKIRT: A-line or full; NO TIGHT, STRAIGHT skirts
NECKLINE: Reasonable, comfortable, fairly high
STOCKINGS Black
SHOES: All Black, dress shoes
UNACCEPTABLE: Sleeveless top
Off-the-shoulder
Cleavage showing
White stockings or shoes
Short skirts (above the knee)
unless you have black hose.
Note: Females may wear black dress slacks
with a black blouse with black dress shoes
OBJECT OF DRESS CODE: WE ARE A GROUP AND
THIS IS A GROUP UNIFORM. THE APPAREL
SHOULD NOT VISUALLY DETRACT FROM OUR MUSIC.
Orchestra wear mail order catalogues are
available. If you cannot afford concert wear,
let Mr. Hollin know, and he will loan you
something appropriate.
If you are inappropriately attired,
you may be denied the opportunity to
perform, and will receive a ‘zero.”
CONCERT GRADING AND DRESS – INTERMEDIATE ORCHESTRAS
To earn FULL CREDIT, you mus
Education Gateways makes no warranty for SchoolNotes.com.
Information on this site is generated by the users. The views
expressed are not necessarily those of Education Gateways or its members, and
Education Gateways is not responsible for user's conduct on SchoolNotes.com.
