Piano World Home Page Forums Our Most Popular Forums Pianist Corner Okay, I really think this will be my audition set!

I'm fairly certain this is what I will audition with, on the classical side. I would like some opinions from you all!

-Baroque: Prelude&Fugue in C# by Bach(WTC book 1)
-Classical: Sonata Pastoral mvmt. 2 by Beethoven
-Romantic: Ballade #1 in G minor by Chopin
-Modern-ish: Prelude #3 by Gershwin

While Ballade shows off my chops and technique, I think Pastoral, though it's easier, will be a good complement as it shows off phrasing, a lyrical style, and it's just a beautiful song!

I thought it was a (movement from a) Sonata! Make sure you don't call any of your pieces "songs" in front of any jury.

Regards,

hahaha, good advice. I'm curious though, why can't a Sonata movement be classified as a song? Or is it just childish-sounding. It still seems applicable

The term "song" is usually defined as a short musical composition of words and music that is sung by the human voice.

Solo piano works are not referred to as songs (the Mendelssohn "Songs Without Words" perhaps being an exception). The movements of piano sonatas in particular are never referred to as songs.

Are these college auditions? Assuming that, here follow my thoughts:

Beethoven: Typically one plays a sonata movement to demonstrate control of classical forms. I don't think that a slow movement would really be effective.

Chopin: I would be inclined to say that the Chopin can display a singing tone, musicianship, and phrasing. While not easy per se, it's not what I'd play to demonstrate my technique.
Do you know any concert etudes?

Gershwin: This is not exactly what I'd consider modern either, but it's not as big of an issue as the classical sonata movement..

Musical definition of song: a piece of music which is sung.
iPod definition of song: anything audible that you can download.

See the difference? And see who or what has caused this confusion?

Some of us get our knickers in a knot over this one. It bothers me because what used to be a perfectly exact term which I could use and be reasonably sure people could understand is now a broad general word I am obliged to further explain. For example, if I want to mention a Schubert song, I have to then explain that I actually do mean a song, that is, a vocal work, and not, for example, the piano sonata in B flat... *sigh*

A lot of people here will argue (and have, on many threads which you can search for if you have nothing better to do ) that there's no need to fuss, as it's perfectly clear what you meant. But they have to agree that now if I say "song", it may not be perfectly clear to you what I meant.

Tiresome, isn't it? Just take Bruce's advice, and you'll be ok.

1) I am not auditioning to be a classical piano major. I will major in jazz piano. But I know that the better classical repertoire/audition I can give, the more options I will have and the better chances I have of getting into the jazz major.

2)When you say that the Beethoven movement doesn't display control of "classical forms," what is exactly do you mean? What piece shows a form more desirable for an audition? Would it truly be a bad idea to audition with this? I think it would show great control and interpretation of a simple yet well-voiced theme.

3) I really don't understand why a Ballade by Chopin would not be a good display of technique. I have been led to believe college auditions take pure technique analysis from your scales and arpeggios, and then they expect you to play music, not more exercises (such as Etudes). But you seem far more informed than me on this topic, am I wrong?

Stick with your program as you've already defined it. For someone hoping to major in jazz piano the repertoire you've selected is just fine.

To better understand where I was coming from, that was for a piano performance program. As far as jazz? I don't know.

For a better idea of what is typical, see this thread. Most of them had an etude by Liszt, Chopin, or another composer-pianist. Those that didn't had very demanding solo repertoire which left no doubts as to their technical prowess, such as full Prokofiev and Beethoven sonatas or famous showpieces like Mephisto Waltz, and Gaspard de la Nuit.

Here is a forum member's thread: http://www.pianoworld.com/ubb/cgi-bin/ultimatebb.cgi?/topic/2/14410.html

FP -

With all due respect, I believe that if Will P can successfully "pull off" the pieces he has selected for his audition his technical skills will be evident. The Ballade is not easy - if played well (nor are the other selections). Also - he shouldn't be encouraged to play repertoire he's not ready to tackle (such as Mephisto or Gaspard).

Will P - I suggest you simply work with yout teacher and follow her advice on this. She knows what you a capacble of doing at this point in your musical development.

Good luck !!

Whoops - I meant FV (not FP)....Sorry !

It looks good, although I tend to agree with not playing the 2nd (slow) movement of a sonata, if you can really do this well, then go for it. The Ballade should compensate for this. Remember, even though you're going for a jazz major, you will still have to show that you are capable of doing classical.

A lot of times the college will suggest that those who will be entering their jazz studies should have a jazz standard in there rather than a 20th century piece to show what you're capable of. Speak with the head of the jazz department of the schools you're applying at to find out what they would like to hear.