• All instruments:
  • Solo:
    • Should be from the standard repertoire
    • Should be equivalent to NYSSMA Level VI
    • Should demonstrate both slow, lyrical playing and faster, more technical playing.  You may play one work with contrasting passages/movements or two separate pieces.
    • Does not have to be listed in the NYSSMA Manual
    • Does not have to be memorized
    • Be prepared to play any section of your solo as requested by the judge (e.g., learn the entire solo)

• Orchestral excerpts – should prepare ALL excerpts even though you may not be asked to play all of them during your audition. Excerpts will be provided at the time of audition.
  
  
• Sight-reading – Applicants will be given a brief musical example to sight-read.  The specifics of the sight-reading will be determined and explained by the adjudicator.

• Specific Instruments:
  • Violins – be comfortable playing in 1st through 7th positions
  • Violas – be comfortable playing in 1st through 7th positions
  • Cellos & Basses – be comfortable playing in 1st through 7th positions and thumb position; should be able to play in three clefs (working knowledge of treble clef); should be able to sight-read in tenor clef and 1st through 5th positions
  • Clarinets – be able to transpose clarinet in A
  • Horns – be able to transpose; be familiar with bass clef
  • Trumpets – be able to transpose
  • Trombones – be able to play both tenor and alto clef

• All instruments:
  • Solo:
    • Should be from the standard repertoire
    • Should be equivalent to NYSSMA Level V or VI
    • Should demonstrate both slow, lyrical playing and faster, more technical playing.  You may play one work with contrasting passages/movements or two separate pieces.
    • Does not have to be listed in the NYSSMA Manual
    • Does not have to be memorized
    • Be prepared to play any section of your solo as requested by the judge (e.g., learn the entire solo)

• Orchestral excerpts – should prepare ALL excerpts even though you may not be asked to play all of them during your audition. Excerpts will be provided at time of audition.
  
  
• Sight-reading – Applicants will be given a brief musical example to sight-read.  The specifics of the sight-reading will be determined and explained by the adjudicator.

• Specific Instruments:
  • Violins – be comfortable playing in 1st through 5th positions
  • Violas – be comfortable playing in 1st through 5th positions
  • Cellos – be comfortable playing in 1st through 7th positions; should understand and be beginning to work in thumb position; should have strong knowledge of tenor clef and beginning knowledge of treble clef
  • Basses – be comfortable playing in 1st through 6th positions; be comfortable playing in tenor clef; should have beginning knowledge of thumb position and treble clef (but not required for solos)
  • Clarinets – be able to transpose clarinet in A
  • Horns – have working knowledge of transpositions; be familiar with bass clef
  • Trumpets – working knowledge of transpositions
  • Trombones – be comfortable reading tenor and have a working knowledge of alto clef

• All instruments:
  • Solo:
    • Should be equivalent to NYSSMA Level IV
    • Should demonstrate your current level of accomplishment
    • Should demonstrate both slow, lyrical playing and faster, more technical playing.  You may play one work with contrasting passages/movements or two separate pieces.
    • Does not have to be listed in the NYSSMA Manual
    • Does not have to be memorized
    • Be prepared to play any section of your solo as requested by the judge (e.g., learn the entire solo)

• Orchestral excerpts – should prepare AS MANY as you can. Excerpts will be provided at time of audition.
  
  
• Sight-reading – Applicants will be given a brief musical example to sight-read.  The specifics of the sight-reading will be determined and explained by the adjudicator.

• Specific Instruments
  • Flutes/piccolos must play at NYSSMA Level V or above

• All strings:
  • Solo:
    • Should demonstrate clear tone and accurate pitch
    • Should demonstrate both slow, lyrical playing and faster, more technical playing.  May play one work with contrasting passages/movements or two separate pieces.
    • Does not have to be listed in the NYSSMA Manual
    • Does not have to be memorized
    • Be prepared to play any section of your solo as requested by the judge (e.g., learn the entire solo)

• Be prepared to demonstrate some use of vibrato
  
  
• Orchestral excerpts –
  • for viola, cello, & bass: prepare as MANY as you can. Click here to download excerpts.
  • Violins: NO excerpts required.
    
    
• Violins only: 2 scales from memory of your choice. The scales chosen should coincide with playing ability
  
  
• Sight-reading – Applicants will be given a brief musical example to sight-read.  The specifics of the sight-reading will be determined and explained by the adjudicator.

• Specific Instruments
  • Violins – solo should be equivalent to NYSSMA Level IV or Suzuki Book 4; should be able to demonstrate shifting through 3rd position
  • Violas – solo should be equivalent to Suzuki Book 3; should be able to demonstrate shifting through 3rd position
  • Cellos, Basses – solo should be equivalent to Suzuki Book 3; should be able to demonstrate shifting through 4th position

• 10 months of playing experience
• One solo of your choice
• 2 scales from memory of your choice. The scales chosen should coincide with playing ability

• Youth Jazz – reserved for advanced, more experienced students with a focus on performance literature equivalent to NYSSMA levels V and VI
  
  
• Repertory Jazz – reserved for developing jazz students with a focus on performance literature equivalent to NYSSMA levels III – V

• Specific Instruments
  • Saxophones; Trumpets; Trombones
    • Prepared jazz solo and/or transcription equivalent to NYSSMA Level III or above
      • Possible sources for solos: Charlie Parker Omnibook, Jim Snidero series; Greg Fishman études; Bob Mintzer études.
    • Improvisation not required but the ability to improvise may increase the chance of acceptance
    • Sight-reading
  • Drumset
    • Prepared jazz solo and/or transcription equivalent to NYSMMA Level III or above
      • Possible sources for solos: The Art of Bop Drumming by John Riley or Jazz Drumset Solos by Rich Thompson
    • Demonstrate proficiency in various styles including rock/funk, swing, Latin (salsa/Cuban, samba, bossa nova), waltz, and ballad (with brushes) at various tempos.
    • Trade 4’s – Play four measures of time followed by four measures of a solo in a style and tempo selected by the adjudicator
    • Sight-reading (may/may not be required for rhythm section)
    • Provided at the audition:
      • Drumset; please bring your own sticks/brushes and cymbals
  • Piano / Guitar
    • Prepared jazz solo equivalent to NYSSMA Level III or above that demonstrates ability to comp chord changes and interpret a melodic line (swing, Latin, ballad, fund, etc.)
    • Improvisation not required but the ability to improvise may increase the chance of acceptance
    • Sight-reading (may/may not be required for rhythm section)
    • Provided at the audition:
      • Guitar Amp (only); please bring your instrument and needed cable(s)
      • Acoustic piano
  • Bass Guitar – Acoustic bass preferred but electric bass may audition
    • Prepared jazz solo equivalent to NYSSMA Level III or above that demonstrates ability to V or above that demonstrates ability to walk a standard swing written bass line or a bass line from chord changes
    • Ability to demonstrate other styles (Latin, ballad, funk, etc.)
    • Improvisation not required but the ability to improvise may increase the chance of acceptance
    • Sight-reading (may/may not be required for rhythm section)
    • Provided at the audition:
      • Bass amp (only); please bring your instrument and needed cable(s)

The audition process for percussionists differs from those for classical and jazz as it includes two rounds of auditions being held on consecutive days. Excerpts will be sent to the applicant for preparation for the preliminary and final rounds of auditions; only applicants who are invited to the final round of auditions will be asked to sight-read. No prepared solo is required.

Applicants are asked to contact Richard Albagli at (518) 272-7828 after they have submitted their online application and paid the audition fee to ESYO. Mr. Albagli will cover the audition process in detail, will make arrangements for a coaching session for percussionists new to ESYO, and will arrange to send you the required excerpts.

Although you are NOT auditioning for a specific ensemble, the following parameters will give you an idea of the skill level expected of musicians on specific instruments:

• Youth Percussion Ensemble / Youth Orchestra
  • Expected to be able to play all excerpts for all percussion instruments (except timpani)
• Youth Repertory Percussion Ensemble and Chamber Percussion Ensemble
  • Should prepare as much of the excerpts as able at your current skill level.
• For all percussion instruments EXCEPT timpani: snare drum, xylophone, bells, bass drum, cymbals, tambourine and triangle (see below if interested in auditioning on timpani)
  • Prepared percussion music excerpts
    • Excerpts will be sent to you after you have submitted the online application and paid the audition fee, and called Richard Albagli at (518)272-7828.
    • Recommended that you review excerpts with your private teacher; and/or schedule a pre-audition coaching session (for new members) with Mr. Albagli
  • Instruments provided at the audition: All percussion instruments and specialty mallets are provided; applicants should bring their own sticks and may, if they wish, bring smaller instruments e.g., snare drum, triangle, cymbals, tambourine)
• Timpani
  • Must demonstrate some knowledge of how to play the instrument to Mr. Albagli before being invited to audition.