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Tuba Mock Orchestral Competition - SERTEC 2024

The Arnold Jacobs Mock Orchestral Tuba Competition gives tuba students the opportunity to show their skills in the orchestral repertoire. The repertoire and setup is like a regular audition.

Registration is now closed.

Category: Competition
Related instrument(s):

Tuba

Registration fee:

$35 USD

Application is open from:
Application deadline:

May 1, 2024

To submit, you must be a paying ITEA member through:

May 12, 2024

Eligibility

All competitors must be ITEA members at the time of the live rounds (semifinals and finals) of the competition. Finalists and semi-finalists must be registered and present at ITEC. The competitors must never have held a full-time professional position as a musician on any instrument.

Criteria

The jury is looking for excellent performances of high musical and technical standards. 

Rules

ELIGIBILITY: All SERTEC competitions are open to contestants of every race, gender, and nationality. Each contestant must be a member of ITEA at the time of the live rounds of the competition. Competitors must be registered and present at SERTEC 2024 held May 9-11, 2024 at Middle Tennessee State University in Murfreesboro, TN. Competitions will begin on Thursday, May 9th, 2024 BEFORE the official start of the conference, with finals being held the morning of Friday, May 10th. Previous ITEC winners and other regional conference competition winners (including past SERTEC competitions) may not enter the same category again. However, they may enter a different category. Second and third-place winners are eligible to re-enter the same category again. No performers who are also presenting as Guest Artists or Presenters at SERTEC may also compete in competitions. Entrants/competitors must never have held a full-time professional position as a performer (musician on any instrument). Winners of the solo and ensemble categories may be expected to perform in a winner's concert during the conference. Competitors must use the assigned SERTEC pianists; no guest pianists will be allowed. Finalists for the solo competition must be prepared for rehearsals with pianists beginning the afternoon/evening of Thursday, May 9th, 2024. AGE REQUIREMENTS: Contestants for the Student Level solo competitions must not have reached their 20th birthday as of May 9th, 2024. There is no age limit for the Artist division solo competitions or for any of the other competitions. APPLICATION FEES AND DEADLINES: Each contestant must register through an online application and pay an entrance fee of $35.00 (USD) for the individual competitions. The entrance fee for the ensemble category is $35.00 (USD) per member of the performing group. Contestants who wish to enter more than one competition must submit a separate application fee for each competition. If any competition does not receive enough entries to be a viable competition, the competition will be canceled and all fees will be refunded. ALL competitors must pre-register for SERTEC by May 1st, 2024.

Submission of materials

No recording submission is required.
Winners will be announced at the final concert of SERTEC on Saturday evening, May 11th.

Coordinator(s):

Chris Combest -

Committee members:

No committee members found
Registrations closed May 1, 2024 11:59 PM. Welcome back for the next edition!

You need to be signed in and a paying ITEA member before you can submit. Sign in here, or join here.

You are currently an ITEA member and your next renewal date is: 

In order to register for this, your membership needs to be active throughout:

May 12, 2024

Extend your membership below, or go here to change your membership.

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Spanish Association of Tubas and Euphoniums
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RATING SYSTEM for the ITEA Standard Repertoire List

Designed and created by Dr. Mark S. Cox OVERVIEW “Range” (40 points) is the most basic and critical element in choosing repertoire. Thus, it carries the most weight. The difficulty and types of intervals is the next factor in determining how challenging a work will be for a student. A soloist’s ability to navigate these intervals (what the committee termed “Dexterity” [30 points]) has a profound impact on how successful the performance will be. “Rhythm and Tempo” is self-explanatory and carries a numeric value of 20 points, realizing that there is often room for variation in tempo, depending on interpretation. Finally, “Miscellaneous” (10 points) includes items that are found in more advanced works that create additional challenges. TUBA RANGE (40 POINTS MAXIMUM) The basic tuba range (used consistently in early and intermediate works) extends from low B-flat to D in the staff. Within this basic range, the highest and lowest notes are determined and each half-step within the range receives one (1) point. Thus, a piece utilizing a range of a major third (B-flat to D, e.g.) would receive a number rating of 4. If the range of a work encompassed an octave, then it would receive a rating of 12. As would be expected, as range is extended, the level of difficulty increases. High range is more difficult to master than low range for most students, and the numerical values reflect this. Whenever a solo goes below or above the basic range as defined above, the starting numerical value is 16. Points are then added to this default number according to the chart. For example, a work that goes up to a D above middle C would receive 4 extra points. The total for the range would be 20 (16+4=20). A work that goes down to a low F would receive 6 extra points. The total would be 22 (16+6=22). If the range extends above and below the “basic range,” both values are added to the 16 default points. For example, a work with a range of low F to B-flat below middle C would receive 25 points (16+6+3 = 25). If the total surpasses the maximum, it automatically defaults to 40. EUPHONIUM RANGE (40 POINTS MAXIMUM) Points for range are more evenly distributed, although the low range is weighted somewhat more heavily than the high range. The basic range extends from B-flat to D above middle C. As above, when pieces go higher than the basic range, points are added according to the chart to the default number of 16. Pieces that extend lower than the basic range use either the “A” or “B” section of the chart, depending on whether the work requires four valves or not. For example a solo with the range of C below the staff to G above middle C would total 29 points (16 [basic] + 9 [low “B “ chart] + 4 [high chart] = 29). If the combined elements, added together, surpasses the maximum, the total automatically defaults to 40

DEXTERITY, RHYTHM AND TEMPO, MISCELLANEOUS
These become necessarily more subjective. The characteristics and point values are the same for both instruments.
DEXTERITY (30 POINTS MAXIMUM) The most challenging interval (taking into consideration frequency and context) is used as the basis for awarding points. For example, if a piece contains primarily major thirds with one perfect fifth, the major third would be used as the primary interval (4 points). Additional points may be added for pieces that require medium or advanced dexterity in moving from note to note. Tempo, rhythms, and the composer’s style and writing all have the potential to affect this. RHYTHM AND TEMPO (20 POINTS MAXIMUM) In most (although not all) solos, rhythms can be narrowed down to a few that most consistently make up the fabric of the piece. The ratings are determined by choosing the two rhythmic elements that most characterize the piece. Easiest works will be characterized by the type of note, while more advanced pieces will more often be defined by rhythmic concepts (syncopation, jazz, e.g.). Additional points for medium or fast tempi are added to reach the final total. A beginner solo might use only quarter and half notes. If the tempo was slow, total points would be 3 (1+2=3). A more advanced solo might look like this: 32nd notes, syncopation, and fast tempo adds up to 16 (7 + 3 + 6 = 16). Note that points are capped at 20. If the individual elements added together surpass this, the total automatically defaults to 20. MISCELLANEOUS (10 POINTS MAXIMUM) This includes compositional techniques and details that increase the difficulty of the work. Pick as many as are applicable. Miscellaneous points are capped at 10. If the individual elements surpass this, the total automatically defaults to 10. These are advanced techniques; most beginner and intermediate pieces will not contain anything from this list. OPTIONAL NOTE(S) RATING Composers and/or publishers at times add “optional ” notes for tuba and euphonium players, usually up or down an octave. This can add a more bravura element to the music, or, conversely, provides an easier alternative to a challenging passage. When this occurs, the rating inclusive of the optional notes can be found under the header “Optional.” The ratings for the individual categories in which the notes occur are represented by the lower of the two numbers.

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