UPDATES for 2017 AUDITIONS HANDBOOK
Vocalists: ALL vocalists entering “state track” auditions must perform a Baroque or Classical piece. (In the past, some vocalists did not have this requirement based on their number of years of study).
Instrumentalists: if performing a concerto movement that has a cadenza, the cadenza (or an accepted version of a cadenza) must be performed.
Summary of Updates and Clarifications from 2016:
District 2 and District 2NM: $20.00.
District 3, State Track, and Duets: $25.00.
Badger Competition: $25.00.
Accompanists may perform reading their music off of an iPad. This MUST be approved with the district chairperson in advance of the auditions day for copyright verification purposes.
Legally purchased/downloaded music is still permitted. What’s new: If a student will be providing a judge’s score that has been downloaded, the teacher MUST seek permission from the district chairperson before the Ovation freeze date/entry deadline. The district chairperson will approve this if the teacher provides written verification or printed receipt of the piece of music being legally downloaded in advance of the deadline.
Extended Audition Times
State Track students that are either juniors or seniors in high school (who may be preparing for college auditions), may request a longer district audition time slot to be scheduled. The teacher must request this from the district chairperson in advance of the Ovation freeze date/entry deadline. The maximum allowed time is 20 minutes.
Accompaniment for instrumentalists and vocalists
Only one selection of the student’s performance is required to be accompanied. But, if a selected piece was composed with an accompaniment, it must be used. Guitar and percussion auditions may contain all unaccompanied selections.
Teachers may not enter students who study with a different teacher as their own.
A student’s repertoire and/or theory test level cannot be changed after the freeze date/entry deadline.
Registering students in another district
For students that will perform in a district outside of their usual “home” district: teachers must send the entry fees to the district chair where the student will be performing – not their home district chair.
Theory Test Requirements
Students that are registered in state track auditions in piano AND another area (such as piano and voice, or piano and violin) may elect to take two different levels of theory tests to accommodate the different minimum levels that are required for each area, or they may elect to take only the more difficult theory test to count for both auditions.
For students in grade 7 or older, if the measures are not numbered in the judge’s score, the student will lose one point from their total performance score (not one point off of every piece that’s not numbered). This rule has been in place for some time, but was accidentally omitted in last year’s online handbook. Note: ALL students should have measures numbered for the judge’s score as a courtesy to assist in writing comments – but students in grade 6 and younger will not lose any points if measures aren’t numbered.
Page-turners are not provided by WMTA for accompanists, or students participating in non-memorized categories. As a reminder: the teacher may not turn pages for their own student.
Original Scores for Accompanists
There MUST be an original score for the accompanist AND for the judge, even if the accompanist chooses to perform from copies (for ease of page turns or an unruly book that won’t stay open). To phrase it a different way, there must be TWO ORIGINAL SCORES in the room. Please don’t assume any rules for WSMA festivals transfer to WMTA events.
Adult students who participated in WMTA events in high school may continue to accumulate points toward WMTA awards.
The definition of disqualification is thus: A student will be allowed to perform their pieces for the judge and receive comments, but will not receive points. Examples of rules infringements that result in disqualification are: having unauthorized photocopies in the room (accompanists may use copies if the original score is also present), parents or teacher discussing a student’s performance and scoring with the judge, use of any recording equipment in the performance site, not providing a judge’s score, performing a piece(s) different than the one(s) that was registered in Ovation, and parents or teachers challenging or arguing the final decisions made by the judge and/or district chairperson.
Summary of Updates and Clarifications to 2016 HANDBOOK ON COMPOSITION RULES
For piano solo
Arrangements are not allowed, except for folk songs. The definition of a folk song is thus: A folk song does not have any one composer in particular (lyrics don’t count). Examples of allowable folk songs include Amazing Grace and Shenandoah. A common piece that is NOT a folk song is easily traced to a specific person, via Google or Wikipedia. Examples of common pieces that are NOT allowable are Oh Susannah and Happy Birthday.
Pieces by Anonymous are not folk songs but yet still allowable, because those pieces are specifically written down and composed for a specific instrument, and the period in which they were written can be accurately traced. In these cases, we know that a specific person wrote the piece, but the name has been lost to history.
For all vocal selections
Instead of having both “Broadway” and “Musical Theater” as categories, we will now use “Musical Theater” exclusively.
For instrumentalists ,vocalists, and piano duets
Arrangements of compositions are allowed, but please list arranger if possible.
Composers in two different time periods
When a composer is listed as being in two different periods, each specific composition by this composer is already listed in Ovation under the period they best fit under. Pieces by that composer no longer “count” toward both periods. Any duplicates in Ovation under multiple time periods will be deleted.
Classic 20th Century and Trans 20th/21st Century
The boundaries for Classic 20th Century and Trans 20th/21st Century will now overlap slightly. The newly defined periods and examples of each are below.
Classic 20th Century: 1900-1975
Bartok, Dello Joio, Joplin, South American/Brazilian Masters, Russian Masters (except Tchaikovsky/some Rachmaninoff)
Trans. 20th/21st Century: 1960-present
Gillock, Glover, Nakada, “Belwin Contest Winners” series, All Major Method books, including Suzuki
BEFORE ENTERING NEW COMPOSITIONS INTO OVATION
Always check the database to make sure the piece has not been already entered, and search carefully. For instance, Debussy’s “Clair de lune” appears as “Suite bergamasque, III. Clair de lune.”
Always cite the arranger for all arrangements, such as “Tchaikovsky, arr. Matz” and “Folk Song, arr. Faber”.
Always cite the instrument for all non-piano pieces in the title, such as “Minuet in G, for violin”. Otherwise, the piece will be assumed to be a piano solo, be subjected to piano solo rules for compositions, and possibly deleted.
Always note if the piece is a duet. Otherwise, the piece will be subjected to rules for solos on that instrument and possibly deleted.
There will be a reference list of “Forbidden Pieces” provided on the “help” page of Ovation. This will give examples of pieces that are not eligible to be performed by students in the WMTA District Auditions or Badger Competition.
For any questions on composition rules, or entering compositions into Ovation, contact Emily Schultz at email@example.com.