Anyone had any experience of this part of the exam? Considering doing TG grade 6 at some point, as it tests different skills, and maybe it'll get me over my mental block with higher grade exams... can but hope! I would be aiming to do orchestral extracts and improv as the two "elective" bits, just to test a different skill set...

I have some music to learn, but no idea I guess what they are looking for...

At all costs avoid playing orchestral extracts as though they are a solo.

Even though you are playing on your own, don't make it sound that way. You need to magine you are in an ensemble situation and play the music accordingly.

It helps if you can get a copy of the score and a recording, so that you can listen to the extract in its orchestral context. That will help you assess just how you should fit in with the other instruments around you.

Thanks, that's a good starting point to think about, hadn't occurred to me about not playing as a solo! yes, definitely need to look at getting recordings etc...

thanks Amanda

I did some work on orchestral extracts a while ago when I was going to do grade 6 trinity, skipped and did AB grade 7 instead...

I got the book Orchestral extracts for orchestral auditions... I think thats the name, its silver with manuscript on it. It came with a CD which just had the exerpts on it to save looking through several works and CDs. I dont know if its still in print or not though, I went back to get the CD and I couldnt get it as they were no longer making it.

There is another book though isnt there though - probably the same, by Woodwind world.

I was looking at these as well (I've decided - well i think I have - that i'm going to do my grade 7 instead of grade 8). the great 7 orchestral extracts for flute include Beethoven's Symphony no. 3 in E flat which was our study for my A Level so I already have the recording (somewhere!!!).

Whatever you do, don't think of the orchestral extracts as an easier option than the scales - they are not! I have just had a grade 7 and an 8 opt for these and they have found them difficult to get up to speed. Treat them in the same way that you would treat set extracts for an orchestral audition - playing absolutely in time and with accurate articulation etc.

One of the Trinity G6 Flute extracts is from Carmen. It's a lovely piece but has almost four bars of rest in the middle - lasting over fifteen seconds. Two teachers I've asked have said I should just pause for a moment and then continue but I want reassurance and have written to Trinity about this - but no reply as yet (they sent my enquiry to the chief examiner).

From what I've read here it sounds like the pieces are to be played as if they were part of an orchestra - but 15+ seconds seems a long time in an exam and tells the examiner nothing other than the ability to count accurately (or not).

All the advice I have received from my teacher who has gone through many auditions for most of the major uk orchestras include:

Play in time - the purpose of the excerpt is to show that you can play the rhythms properly
Know what is happening in the score - vary dynamics and tonal colour accordingly
Dynamics - Really emphasise these as subtle changes in an orchestral setting would not be noticed.
Tempo - Be ready to play them at any tempo slow or fast (not sure if this applies to the exams?)
Rests - count the rests carefully

I'm looking on them as different, rather than easier or harder... I don't find scales to be a problem, but I thought that it would be more interesting to do all the different options (ie extracts and improv) available.

Thanks for the help, folks, feel like I have a place to start from now

Came across it today - 'Orchester probespeil - test pieces for orchestral auditions'

Yes, I have that one

It sounds an interesting option! WHy not investigate?! I have the orchestral book for auditions. The proper name escapes me right now!

Sags_3 advice is absolutely as it should be. Some of them have very long rests, so I get candidates to ask the examiner beforehand whether or not he wants the full rest - they seem to all want a short pause so far.

Will the examiner set the pulse in the exam room, does anyone know? I'm just wondering whether I should be practising the extracts at the widest range of tempi (ie the Carmen extract has 60-72bpm) or not.

Im not sure how it is for the exam, but it would probably be beneficial to learn it at a wide range of tempi. Being able to play it slowly will secure the notes, as well as stretching the breathing, so when it come to playing it at the correct tempo you know you can get through it. From my experience in auditions, after you have played through it once if they are not happy with the tempo they will ask you to repeat it.

Yes, I do plan to play them (and have been playing them) at a range of tempi - I just would really like to know what to expect in the exam room

From my pupils' experience of these in exams tempo is left to you. Also, some have had to play both extracts, others only one (this has happened with the same examiner in the same session, maybe he wanted his coffee break!)

My examiner in grade 8 definately wanted his! He cut me off just over half way through my list A piece! (gave me 29, so not complaining )

Thanks, that's useful!