The Evergreen Philharmonic has been active since 1991. It has performed in diverse places such as the Washington State Ferries, the University of British Columbia, Disneyland, the University of Southern California, and southern England. The Evergreen Philharmonic is open by audition to any string, wind, or percussion player in the Issaquah School District in grades 9 through 12.
| Tuesday 3 November 2009, 7:30 PM | Season Premiere | Skyline HS, 1122 228th Ave SE, Sammamish |
| Thursday 5 November 2009, 7:30 PM | Fall Concert | Skyline HS, 1122 228th Ave SE, Sammamish |
| Wednesday 16 December 2009, 7:30 PM | Winter Concert II | Skyline HS, 1122 228th Ave SE, Sammamish |
| Sunday 17 January 2010, 7:30 PM | Swingin' in Vienna | Issaquah Community Center, 301 Rainier Blvd S, Issaquah |
| Saturday 8 May 2010, 7:00 PM | Baroque Festival | 1st Presbyterian Church, 1717 Bellevue Way NE, Bellevue |
| Thursday 3 June 2010, 7:30 PM | Spring Concert | Skyline HS, 1122 228th Ave SE, Sammamish |
| Thursday 10 June 2010, 7:30 PM | Concerto Concert | Skyline HS, 1122 228th Ave SE, Sammamish |
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Click these links for additional information: |
Information for other high school orchestras: Click this link for the |
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Issaquah School District Home Page | This page last modified 26 January 2010 |
[12/4/2009] Evergreen Auditions. The mid-year deadline for receipt of audition media has now passed. See the Audition Information for the spring deadline.
[10/2/2009] Schedule Adjustments. There have been some changes in the dates of the early rehearsals, and performances, and in the chamber music performances. See the Schedule for details.
[6/30/2009] Full Rehearsals. As we did last year, we will use the temporary commons of Issaquah High School for our full rehearsals. Until further notice, you can continue to park where you are accustomed to parking. The temporary commons is at the far east end of the Issaquah High School campus (farthest from the parking lots), occupying rooms E-6, E-8, and E-10, next to the "senior courtyard".
[6/30/2009] Schedule Updates. The Evergreen Philharmonic has been invited to perform at the Maywood MS fall band concert. Also, All-State audition recording dates have been determined. See the Schedule for details.
[6/16/2009] Audition Materials. The audition information for the 2010 All-State honor groups has been published by the Washington Music Educators Association (WMEA). The links to this information are available under Audition Information. Be sure to read the Note immediately following these links, as downloading problems have been common.
[1/6/2009] New Orchestra E-Mail. To separate orchestra-oriented messages from other e-mail, a new account has been created with address longmanorchestra@gmail.com. Please use this address for any e-mail pertaining to orchestra matters.
[12/6/2008] Event Photos. We would like to post photos of Swingin' in Vienna and the Baroque Festival as part of this Web site. To this end, we encourage anyone who takes one or more good digital photos to send copies to Mr Longman (in computer-readable format).
Web site changes. Please be aware of the following recent changes:
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It is easy to underestimate the expenses involved with a successful high-school orchestra. Besides the obvious outlays for instrument repair and studio recording, the orchestra also incurs costs for venue rental, instrument transport, music acquisition, and scholarships. In addition, incidental charges such as telephone and printing contribute to overall expenditures.
It is necessary to raise money to offset these expenses. Charging admission to the concerts constitutes the major source of fund-raising for the year. We have found this to be a particularly successful approach, because it avoids consuming the musicians' time with activities such as candy sales and car washes.
Ticket prices are as follows:
| Concert | Adults | Students and seniors |
| Most concerts | $7 | $5 |
| Swingin' in Vienna | $50/couple $35 single |
$40/couple $25 single |
| Baroque Festival | $12 | $7 |
Notes:
A ticket for the Winter Concerts is good for both evenings.
Admission to Swingin' in Vienna includes coffee, punch, and dessert.
Season passes are also available. These offer a savings compared to the price of each concert for each family member. Individual passes are $30. Family passes are $50, covering any number of family members. Swingin' in Vienna is not included in season passes.
All tickets, including season passes, can be purchased at the door on the night of a concert. However, advance reservations are strongly recommended for Swingin' in Vienna, a semi-formal event featuring dancing to the live music of the Evergreen Philharmonic and the Issaquah High Jazz Ensemble.
CD Recordings. The Evergreen Philharmonic produces a set of CDs at the end of each school year. These CDs can be ordered through your orchestra director, or from the ticket sellers at most concerts during the year. Also, see the CD Order form under Forms.
Please contact your orchestra director for more information, reservations, and ticket and CD purchases.
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Rehearsals are in the
Issaquah HS temporary commons (E-6/8/10)
from 3:15 to 4:45 unless otherwise noted
Concerts start at 7:30 PM unless otherwise noted
This Web site will be kept updated to reflect any changes to the schedule
Events in {braces} are optional
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September 2009 Wed 9 — Deadline for receipt of Forms (3:30){ Thu 17 — All-State audition recording (by appointment) } { Sat 19 — Retreat at Seabeck Center, Seabeck } { Sun 20 — Retreat at Seabeck Center, Seabeck } { Mon 21 — All-State audition recording (by appointment) } { Wed 23 — All-State audition recording (by appointment) } Mon 28 — Full rehearsal October 2009 Fri 2 — Full rehearsalSat 10 — Performance at Issaquah Farmers Market (1:00) Mon 12 — Wind rehearsal (3:15-4:30) Fri 23 — Full rehearsal Mon 26 — Wind rehearsal (3:15-4:30) November 2009 Mon 2 — Full rehearsal, Skyline HSTue 3 — Season Premiere, Skyline HS Thu 5 — Fall Concert, Skyline HS Fri 13 — Full rehearsal Thu 19 — Guest performance at Maywood MS fall concert (6:30) Fri 20 — Full rehearsal Mon 23 — Wind rehearsal (3:15-4:30) December 2009 { Fri 4 — Mid-year deadline for receipt of audition media (3:30) }Fri 4 — Full rehearsal Fri 11 — Full rehearsal Mon 14 — Full rehearsal, Skyline HS Wed 16 — Winter Concert II, Skyline HS Fri 18 — CD recording, Skyline HS (3:15-9:00) January 2010 Fri 8 — Full rehearsalMon 11 — Wind rehearsal (3:15-4:30) Fri 15 — Full rehearsal Sun 17 — Swingin' in Vienna, Issaquah Community Center Fri 29 — Full rehearsal { Sat 30 — Eastshore Solo/Ensemble Contest, Liberty HS } |
February 2010 Fri 12 — Full rehearsalMon 22 — Wind rehearsal (3:15-4:30) Fri 26 — Full rehearsal March 2010 Fri 5 — Full rehearsalMon 8 — Full rehearsal Thu 11 — Eastshore Orchestra I Festival, Newport HS Fri 19 — Full rehearsal Fri 26 — Full rehearsal April 2010 Wed 7 — Spring deadline for receipt of audition media (3:30)Mon 12 — Full rehearsal Fri 16 — Full rehearsal with festival chorus (3:15-5:15) { Fri 23 — State Ensemble Contest, CWU, Ellensburg (all day) } { Sat 24 — State Solo Contest, CWU, Ellensburg (all day) } Mon 26 — Full rehearsal with festival chorus (3:15-5:15) May 2010 Mon 3 — Full rehearsalWed 5 — Full rehearsal Fri 7 — Baroque Festival recording session, 1st Presbyterian Church, Bellevue (6:00-9:00) Sat 8 — Baroque Festival, 1st Presbyterian Church, Bellevue (7:00) Mon 10 — Wind rehearsal (3:15-4:30) Fri 14 — Full rehearsal Fri 21 — Full rehearsal Mon 24 — Wind rehearsal (3:15-4:30) Wed 26 — Full rehearsal June 2010 Wed 2 — Full rehearsal, Skyline HSThu 3 — Spring Concert, Skyline HS Mon 7 — Full rehearsal, Skyline HS Thu 10 — Concerto Concert, Skyline HS Fri 18 — CD recording, Skyline HS (3:15-9:00) Sat 19 — CD recording, Skyline HS (3:15-9:00) |
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Chamber Music Curriculum Calendar 2009 – 2010 Thu 22 Oct — Chamber coaching in all Evergreen Philharmonic classes, during schoolTue 17 Nov — Chamber coaching in all Evergreen Philharmonic classes, during school Thu 10 Dec — Chamber coaching in all Evergreen Philharmonic classes, during school Tue 19 Jan — Chamber coaching in all Evergreen Philharmonic classes, during school Tue 26 Jan — Chamber coaching in all Evergreen Philharmonic classes, during school (other events to be scheduled soon) Selected chamber performances: { Thu 1 Oct — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Thu 29 Oct — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Thu 3 Dec — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Thu 28 Jan — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Thu 25 Feb — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Sat 6 Mar — "Kegger", Skyline HS Commons, 6:30 PM (potluck dinner 6:00, root beer floats 7:30) } { Thu 25 Mar — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Thu 29 Apr — Bellewood Retirement Home, between 7:00 and 8:00 PM } { Thu 20 May — Bellewood Retirement Home, between 7:00 and 8:00 PM } |
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WMEA and MENC Honor Groups 2009 – 2010 { Fri 12 Feb — All-State Orchestra rehearsals, Yakima } { Sat 13 Feb — All-State Orchestra rehearsals, Yakima } { Sun 14 Feb — All-State Orchestra rehearsals, Yakima } { Mon 15 Feb — All-State Orchestra concert, TBD, Yakima } |
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Issaquah School District 2009 – 2010 Calendar First day of classes — Wed 2 SepVeterans Day — Wed 11 Nov First Winter Break — Mon 21 Dec – Fri 1 Jan Martin Luther King Day — Mon 18 Jan Presidents' Day — Mon 15 Feb Second Winter Break — Mon 15 Feb – Fri 19 Feb Spring Break — Mon 29 Mar – Fri 2 Apr Memorial Day Weekend — Fri 28 May – Mon 31 May High school graduations — TBD Last day of classes — Thu 17 Jun |
Holiday dates people don't always know: Ramadan (Americas) 2009 (1430) — Sat 22 Aug - Sat 19 SepYom Kippur 2009 (5770) — Mon 28 Sep American Thanksgiving 2009 — Thu 26 Nov Hanukkah 2009 (5770) — Sat 12 Dec - Sat 19 Dec Kwanzaa 2009/2010 — Sat 26 Dec - Fri 1 Jan Chinese New Year 2010 (4708) — Sun 14 Feb Ash Wednesday 2010 — Wed 25 Feb Passover 2010 (5770) — Tue 30 Mar - Tue 6 Apr Good Friday 2010 — Fri 2 Apr Easter Sunday 2010 — Sun 4 Apr Orthodox Easter 2010 — Sun 4 Apr |
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There is a different philosophy at work in the orchestra at the high-school level. It is not the same kind of class as it was in middle school. In middle school, it was possible to be successful and even get an "A" if you were always in the right place at the right time. Attendance counted for a great deal, and orchestra was a class where all levels of musicianship were welcomed, as long as standards of attendance, attitude, and effort were maintained. Those standards are still expected, but added is the very important standard of musical expertise or accomplishment. The following are examples of things that are different in the high school orchestra classes, as opposed to middle school orchestra.
Practice. Everyone is expected to practice. We learn music at a much faster pace than in middle school. It is not acceptable to use only rehearsal time to learn the music.
Lessons. Private lessons, while not required, are highly recommended. Our time in orchestra includes some instruction on the techniques of playing, but orchestra is not a group lesson class. Most of the time is spent working on the music that we perform. The demands of this music, and the level of playing required, mean that every student needs the technical help that is only available through private lessons.
Uniform. Participation in the orchestra requires a performing uniform. You must rent a tuxedo for the school year or acquire a black dress. Measuring for tuxedos takes place during class periods at the beginning of the school year. The tuxedo rental does not include a dress shirt or a black tie and cummerbund, which you must provide. You must also purchase black dress shoes (closed toes) and black socks or panty hose. See the Tuxedo Order form or the Women's Dress Code under Forms. If the cost of the uniform items causes financial hardship, there are resources available for such a situation; please see your director privately.
Transport. Students are required to make their own arrangements for transporting instruments and music to and from all local rehearsals and concerts. The director cannot take anybody's instrument or other items. When we travel together, we make arrangements for transporting instruments, but each student must still assume the primary responsibility for their own instrument and music folder.
Equipment. In addition to instrument supplies and a music stand, every student needs access to a metronome and a cassette tape recorder. These are necessary for the tape tests. The tapes themselves are supplied by the orchestra director.
Tapes. The grading scale reflects a heavy emphasis on tape tests. The level of a student's individual musicianship, and how much time they spend practicing, is the most important aspect of their grade.
Attendance at all rehearsals and concerts is mandatory. The points you receive for participating are part of your grade. If there is an emergency situation and you have received permission to miss a rehearsal or concert, you will have an opportunity to make up some of the points lost. Please realize that it is impossible to duplicate the experience of a rehearsal or concert, so only 80% of the points lost can be made up.
You will be allowed to make up points only if your director has prior knowledge that you cannot be there, and the reason is either personal illness or a family emergency. If you become ill prior to a concert, have a parent call so that adjustments can be made. This is important to your stand partner, your section, and the entire orchestra. You will certainly be missed, but if we can plan ahead, we can minimize the impact on everyone else. In the event of illness or emergency, please call your director right away. See the Faculty listing for phone numbers.
If you have a prior commitment (family vacation, award ceremony, athletic contest, etc.), you must give 10 days notice of your intended absence. At that time a decision will be made as to whether any of the points can be made up. Do not ask to make up points that are lost due to poor planning or inattention to the calendar.
Obviously, situations will arise that cannot be anticipated by any attendance policy. We are all busy, involved people, and that is good. If a situation comes up that needs further discussion or consideration, please make arrangements with your director to talk about the problem in advance. Concerts are more successful if there is as much consistency as we can manage between rehearsals and performances. However, we are human, and while trying to adhere to a consistent and fair attendance policy, there must be a way to accommodate unusual or emergency situations. These can be dealt with if we communicate fully as far in advance as possible.
The possible reductions in your grade for a single rehearsal are as follows. "Late" is relative to the moment when tuning begins. At that time you should be in your seat, with your instrument and music, and ready to tune.
| 1 - 10 minutes late | 10% off |
| 11 - 20 minutes late | 20% off |
| Over 20 minutes late | 40% off |
| Not having your music | 15% off |
| MUSIC REPLACEMENT FEE -- $1.00 PER PAGE | |
| MUSIC BINDER REPLACEMENT FEE -- $10.00 | |
The grading scale is a demanding one. Standards are high in this elective course, and both reliable attendance and consistent improvement are necessary to achieve a high grade.
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Notes:
Extra credit is accepted only if all assignments are turned in. It is not a substitute for assigned work.
Grading is by semester. The quarter grade reflects progress only to that point in the grading period.
The grading scale and weighting can be different for the other high-school orchestras. See their individual pages.
For a successful orchestra program, there must be a high level of commitment from the director, from the parents, and from the student.
From the director: You should expect your director to be dedicated to making the orchestra program (grades 5 through 12) and the high-school orchestras the finest that we can make them. We all want the program to continue to be regarded as one of the best in the five-state northwest area, providing a top-quality orchestral experience for students of all talent levels. For the high-school orchestras, this means the directors will constantly be pushing themselves and the students to higher and higher levels of musical achievement.
From the parents: It is important to realize what is being asked of your children. The director cannot be effective as a teacher if your child regards this as a frivolous activity. This does not mean that a student cannot have other commitments. We all have other interests and obligations, and they are all important. What you are being asked is that for for the hours that belong to orchestra, you will support your student's efforts in practice, rehearsal, performance, and when applicable, travel obligations. If any of these commitments are a problem, especially the performance and travel time, please talk to your director as soon as possible.
For everyone to meet their commitments, we must have a whole team. If financial restraints are a problem, please talk to your director privately. We have a method of handling these matters in a confidential manner.
From the student: The student's commitment is twofold. First, the hours that belong to orchestra in practice, rehearsal, performance, and travel are extrememly important, and students must come prepared to make them as productive as possible. Practice time is scheduled by each individual and cannot be neglected. Students need to fit practice time into their schedule so it is consistent and productive.
The second part of the student's commitment regards communication. There will be conflicts that arise in regard to rehearsal times, especially after school. It is imperative that you communicate these problems to your director far in advance, preferably both verbally and in writing. Please look over the Schedule of All Events carefully, and make arrangements to talk about any problems right away.
Since the orchestra program is district wide, there are some differences in how student achievement is honored at the end of the year. Some awards are unique to the orchestra program, while some are unique to each high school.
Orchestra awards: In each orchestra class, there is a Director's Award, a Most Achieved Award, and a Most Inspirational Award for each high school. In addition, it is possible to earn an activity letter for orchestra in each high school.
Issaquah High School awards: There is a Fine Arts Dessert in June to honor all those students in the fine arts department who were involved in co-curricular music activities. This involves letter recipients and participation awards for those students involved with the school musical. In addition, the orchestra program is involved with departmental awards, such as the Arion Medallion and the NSOA, and these are presented at the Senior Honors and Awards ceremony and at the Spring Concert.
Liberty High School awards: In addition to its own awards, the orchestra program is involved with the departmental awards, including the Medallion Award and the Distinguished Scholar Awards. These are presented at the Senior Awards ceremony.
Skyline High School awards: The Performing Arts department presents certificates and Medallion awards to selected seniors. The Skyline Symphony has a Senior Conductor award that is voted on by the orchestra members.
There are some performance goals that can only be achieved by taking the orchestra to perform in another city, state, or country. These performances are just as important a part of the orchestra experience as concerts that are given at school, and it is expected that all orchestra members will take part. These activities are also part of the grade that each student receives. If a student cannot participate due to an unavoidable conflict, an alternate assignment will be made, typically a research paper. Please understand that such an assignment is not meant to be punitive, but since the performances missed would have been a significant part of the grade, then the alternative assignment must be as well. Arrangements for alternate assignments must be made well in advance.
It should be understood that orchestra membership does involve some travel and some expense. Due to the uncertain economy, travel plans for the 2009–2010 school year are currently on hold.
Our orchestra program has come to be regarded by adjudicators as one of the top five programs in the state of Washington. You are joining a prestigious organization that strives hard to always improve and achieve even more each year.
In order to maintain the excellent reputation that we enjoy, we would not want to travel and perform unless we could do our best, and that involves having everybody there. It is like an athletic team in the sense that the whole orchestra must rely on each musician to play their part, and that requires everyone's participation. All local performances during the year are required. By law, field trips cannot be mandatory, but obviously the success of the organization depends upon participation.
Signing the Parent Signature Form indicates that you are aware of these expectations and will support your child's participation in these activities.
Please see your orchestra director for names of private teachers of your instrument. Any name you are given does not constitute certification or recommendation by either the Issaquah School District or the orchestra program.
For music vendors that sell and rent sheet music, instruments, and other music supplies, please consult the Useful Web sites at the end of this Web page. We have had experience with the stores listed there, and with how they relate to students and parents. If a store does not appear on the list, it is because it is too far away for the services it offers, we have had numerous complaints about its service, or it is new and we have not heard about it. Nonetheless, the inclusion of a store in the list is not to be taken as a recommendation of any kind, either by the Issaquah School District or by the orchestra program.
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ISSAQUAH SCHOOL DISTRICT DISCLAIMER
The attached list of individual(s)/agencies is being provided as an informational item for your convenience. The Issaquah School District does not recommend or endorse any of these individual(s)/agencies provided on the attached and will not be held liable or responsible for any services provided by them. As such, the Issaquah School District highly recommends that you conduct your own research and investigation and exercise due diligence before selecting any of these individual(s)/agencies for services. |
The following policy is coordinated with the music departments of the high schools, and is in accordance with the policy that comes to us from the district administration.
Field trips of over 10 miles or more than two hours duration:
Field trips within 10 miles and of two hours duration or less:
The foregoing information applies generally to the Greenwood Symphony, Patriot Philharmonic, Skyline Symphony, and Pacific Cascade Philharmonic. Potential areas of difference are the schedule, grading, uniforms, and travel. Below are links to information specific to these orchestras.
| Issaquah HS: Greenwood Symphony |
| Liberty HS: Patriot Philharmonic |
| Skyline HS: Skyline Symphony |
| Pacific Cascade Freshman Campus: Pacific Cascade Philharmonic |
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The following forms are required for your participation in the orchestra program. They must be filled out completely and readably, and turned in personally to your director no later than the
Deadline for Receipt of Forms: Wednesday 9 September 2009, 3:30 PM
Click a form name to display that form. If you can print the form from your browser, you can fill out that copy and turn it in. If you are unable to print a form, you can obtain a printed copy from your orchestra director.
You can submit the Registration form electronically. If you have trouble doing this, you can fill it out by hand and turn it in with your other forms.
You might use the Trip Permission form several times during a school year. When you bring it up, select a field trip and supply your personal information, then click the button to generate the combined permission forms automatically. Please print the combined forms, sign them, and turn them in to your director. If you have trouble with the automatic form generation, you can request the traditional forms from your director and fill them out by hand.
| Registration | Medical Emergency | Fall Retreat | Trip Permission |
| Parent's Signature | Parent Volunteer | Tuxedo Order | Women's Dress Code |
Filling out, signing, and returning all these forms constitutes part of your grade. Please be sure that every entry has been completed and is clearly readable.
Form Blocking. Since the Registration and Permission forms are automated, your browser might offer to block them "from showing active content that could access your computer". These forms do not access your computer and do not threaten your security. Click the bar just above the form and choose "Allow Blocked Content...", then answer "Yes" to the security warning. As always, if you have any problems loading or completing these forms, you can obtain them from your director, fill them out by hand, and turn them in with your other forms.
The following forms are optional depending on your circumstances. Please fill out the ones that apply to you and turn them in to your director.
| Season Pass Order | Instrument Rental | CD Order |
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Membership in the Evergreen Philharmonic is by audition only. All returning members are required to re-audition every year. Auditions are normally open twice a year, as follows:
Note that these deadlines are subject to modification, so always check the current deadline notice below.
| Be sure to follow the instructions for recording and submitting. If you do not, your audition could be invalidated. |
The auditions can be submitted on cassette tape or compact disc (CD), or by e-mail. If your audition is on TAPE or DISC, it should be mailed or delivered to
Doug Longman
Issaquah High School
700 2nd Ave SE
Issaquah, WASH 98027-4319
or left in his mailbox in the Issaquah High School office.
If your audition is by E-MAIL, send it to evergreenauditions@gmail.com, and put on the "Subject" line your name, instrument, and the month and year of the audition.
The next audition deadline is Wednesday 7 April 2010 at 3:30 PM.
This is not a postmark deadline. Your audition must have arrived by this deadline.
The Washington Music Educators Association (WMEA) publishes audition information for the annual All-State Orchestra and the biennial All-Northwest Orchestra. This information includes a specification of the audition materials — the book to use (when appropriate), the passages to play, and the tempi at which to play them. The Evergreen Philharmonic uses the same materials for its auditions. This means you need to prepare only one set of materials for multiple submissions.
Note that these materials can change from year to year, so you should check them every time you are planning to audition. However, for Evergreen Philharmonic auditions, either the current year's or the previous year's materials are acceptable.
Note also that the published information only specifies the music selections, but does not provide them. You must have access to the appropriate book so you can play the passages. But before purchasing it, ask your orchestra or band director if a copy is available.
To download a PDF file of the audition information, click the link that applies to your instrument (you need Adobe Acrobat Reader 5.0 or later to view it):
| Strings, Harp | Woodwinds, Brass, Percussion |
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Note: The audition information might show as a blank or partial screen. If this happens, the following procedure might help on most browsers. RIGHT click on the troublesome link, choose "Save Target As...", and save the file on your local disk. We recommend that you leave the file name unchanged, but select the local folder where you want to store it. Then you should be able to display and print the saved file directly from wherever you stored it. If you are still unable to view or print your audition information, you can obtain a printed copy from your orchestra director. If there are no materials specified for your instrument (such as keyboards), see your director for instructions. |
The following links provide some of the music selections for the current year. See the preceding Note if you have trouble accessing them.
| Flute (2010) Oboe (2010) Clarinet (2010) Bassoon (2010) Horn (2010) Trumpet (2010) Trombone (2010) Tuba (2010) |
Percussion (2010) Harp (2010) Violin (2010) Viola (2010) 'Cello (2010) Bass (2009) |
In the spring of odd-numbered years, both the All-State and All-Northwest honor groups meet. For such years, the Washington Music Educators Association (WMEA) uses the audition information specified by the Music Educators National Conference (MENC). You can audition for both groups, and for the Evergreen Philharmonic, using the same materials, although you must make a separate submission for each audition.
In the spring of even-numbered years, only the All-State honor groups meet, and WMEA itself specifies the audition information for these years. Again, you can use the same materials for your Evergreen Philharmonic audition. Note that, although you can record your own Evergreen Philharmonic audition, your All-State and All-Northwest auditions must be recorded by your music teacher.
If you submit your audition ON A PHYSICAL MEDIUM, the following rules apply:
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If you submit your audition BY E-MAIL, the following rules apply:
The following points and suggestions might be helpful:
Anonymity. In many cases, the Evergreen Philharmonic director doesn't know you and has never seen or heard you play. Your audition will be the only input available for deciding whether you can be accepted. You owe it to yourself to make your submission a showcase of your very best playing.
Legibility. If the information you provide on the label cannot be clearly read or deciphered, there is no way to identify you, or to contact you with the results of your audition. This produces the same outcome as if you had never submitted an audition. Take the time to be sure all your information is legible — without a magnifying glass.
Retakes. Listen carefully to each selection after you have recorded it, and make sure it is up to your highest standards. Don't hesitate to re-record one or more selections if you think you can improve them. Of course, submit only the best take of each selection.
Medium. Sometimes a qualified student is rejected because poor quality of the medium or the recording renders the audition unacceptable. While you don't need to engage a recording studio, or meet professional standards, you should choose a new medium of high quality, and the recording should be clean enough that it doesn't obscure the good aspects of your playing. If you're not confident of your equipment or your ability to operate it to your advantage, by all means get someone to help you record.
Mechanics. Before recording your selections in earnest, do some short test takes to determine the best physical setup for recording. In general, a larger room (such as a living room) is preferable to a smaller one, and some sound-deadening surfaces (carpet, curtains, cushions) are helpful in reducing echo. Position the microphone five feet or so from your instrument, and set the bass and treble controls to normal (medium) levels. If available, use manual settings (volume, treble, bass) in preference to automatic settings. Stereo recording is recommended but not required. When you listen to the test takes, make sure the recording volume level is reasonable and there is no distortion of your sound.
Qualities. The major considerations for acceptance are:
Instructions. Sometimes there are a large number of auditions for a section with few open positions (for example flute or violin). Such auditions can be quite competitive, and there might be "close calls" requiring a choice between submissions of essentially equal caliber. In such cases, preference must be given to submissions that most carefully follow the instructions. Your attention to detail is a valuable indicator of your future success.
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Music is a science.
It is exact and specific, and it demands precision.
Music is mathematical.
It is based on subdivisions and fractions which must be worked out instantaneously, not on paper.
Music is a foreign language.
Most of the terms are in Italian, German, and French, and musical notation is a semantically complete non-English system of
symbols.
Music is history.
It reflects the time and environment of its creation, often the country and the social or political feeling.
Music is physical education.
It is strenuous, and it requires coordination of fingers, hands, arms, lips, diaphragm, and back muscles, which must respond
instantly to the ear and the mind.
Most of all, music is art.
It allows a human being to take these dry techniques and use them to create emotion.
Music develops insight and demands research.
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Studying music enhances ... |
Research indicates music students ... |
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Washington [State] Roundtable goals prepared for by music study: |
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Professions and Careers in Music PerformanceTeaching — School and Private Composition and Arranging Music Therapy Technical — Recording and Broadcasting Business — Producing and Promotion |
Middle school and high school students who participated in instrumental music scored significantly higher than
their non-band peers in standardized tests.
— University of Sarasota/East Texas State University
Young children with developed rhythm skills perform better academically in early school years. Findings of a
recent study showed that there was a significant difference in the academic achievement of students classified according to
rhythmic competency.
— University of Central Florida
The world's top academic countries place a high value on music education. Hungary, the Netherlands, and Japan
stand atop worldwide science achievement and have strong commitment to music education.
— International Association for the Evaluation of Educational Achievement (1988)
Music partipants received more academic honors and awards than non-music students. Also, the percentage of music
participants receiving AS, AS/BS, and BS degrees was higher than the percentage of non-music participants receiving those
degrees.
— National Educational Longitudinal Study (1988)
Music training helps under-achievers. Half of the classes became "test arts" groups, receiving ongoing music and
visual arts training. In kindergarten, this group had lagged behind in scholastic performance. After seven months, the students
were given a standardized test.
— Nature (1996)
The nation's top business executives agree that arts education programs can help repair weaknesses in American
education and better prepare workers for the 21st century.
— Business Week (1996)
Piano students are better equipped to comprehend mathematical and scientific concepts.
— Neurological Research (1997)
A ten-year study, tracking more than 25,000 students, shows that music-making improves test scores. Regardless of
socioeconomic background, music-making students get higher marks in standardized tests than those who had no music
involvement.
— UCLA (1997)
Pattern recognition and mental representation scores improved significantly for students given piano instruction
over a three-year period. Also, self-esteem and musical skills measures improved for the students given piano instruction.
— McGill University (1998)
College-age musicians are emotionally healthier than their non-musician counterparts. They were given three tests,
measuring performance anxiety, emotional concerns, and alcohol related problems.
— Houston Chronicle (1998)
Students who were exposed to the music-based lessons scored a full 100 percent higher on fractions tests than
those who learned in the conventional manner.
— Neurological Research (1999)
Music study can help kids understand advanced math concepts. A grasp of proportional math and fractions is a
prerequisite to math at high levels, and children who do not master these areas cannot understand more advanced math critical to
high-tech fields.
— Neurological Research (1999)
High school students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with
coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on
the math portion than students with no coursework/experience in the arts.
— Music Educators National Conference (2001)
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| Program Year | School Year | Highlights and Milestones | Students | Schools | Grades |
| (Pre) | 1979–1983 | Taught orchestra in 1 elementary school. Lobbied for district-wide orchestra program. | 125 | 1 | 5–6 |
| 1 | 1983–1984 | Started district program in 6 elementary schools with 2 part-time teachers. | 36 | 6 | 5 |
| 2 | 1984–1985 | Both teachers now full-time. Added 3 middle schools. 63 students/teacher. | 126 | 9 | 5–6 |
| 3 | 1985–1986 | 94 students/teacher. | 188 | 9 | 5–7 |
| 4 | 1986–1987 | Added 2nd class in each of 3 middle schools. 131 students/teacher. | 263 | 9 | 5–8 |
| 5 | 1987–1988 | New class in each of 2 high schools. Now consistently starting about 250 5th graders each year. 157 students/teacher. | 314 | 11 | 5–9 |
| 6 | 1988–1989 | Added 3rd teacher part-time. Combined middle- and high-school orchestras. First Baroque Festival. First parents' organization (ISDOPA). 160 students/teacher. | 401 | 12 | 5–10 |
| 7 | 1989–1990 | Added 2nd orchestra in each high school. First performance on Washington State Ferries. 2 players chosen for All-State Orchestra. 177 students/teacher. | 442 | 12 | 5–11 |
| 8 | 1990–1991 | First graduation of 8-year orchestra students. First performance of a major work in original form. String quartet went to Sunndal, Norway (sister city to Issaquah). First trip to Canada (Victoria and Vancouver). 4 players chosen for All-Northwest Orchestra. 204 students/teacher. | 510 | 12 | 5–12 |
| 9 | 1991–1992 | Added 4th teacher part-time. Establishment of Evergreen Philharmonic. First trip to southern California (Disneyland and USC). 5 players chosen for All-State Orchestra. 191 students/teacher. | 573 | 13 | 5–12 |
| 10 | 1992–1993 | Added 5th teacher part-time, 3rd and 4th now full-time. Return trip to Canada (University of British Columbia). 3 players chosen for All-Northwest Orchestra. 138 students/teacher. | 622 | 14 | 5–12 |
| 11 | 1993–1994 | 5th teacher now full-time. Return trips to both southern California and Canada. 5 players chosen for All-State Orchestra. 137 students/teacher. | 685 | 15 | 5–12 |
| 12 | 1994–1995 | First CD produced. Return trip to Canada. 3 players chosen for All-Northwest Orchestra. 167 students/teacher. | 836 | 16 | 5–12 |
| 13 | 1995–1996 | Tried lottery to limit 5th grade class sizes. Return trips to both southern California and Canada. 5 players chosen for All-State Orchestra. 174 students/teacher. | 872 | 16 | 5–12 |
| 14 | 1996–1997 | Abandoned 5th grade class lottery as ineffective and iniquitous. 184 students/teacher. | 922 | 17 | 5–12 |
| 15 | 1997–1998 | Added 6th teacher full-time. Return trip to southern California. 163 students/teacher. | 975 | 18 | 5–12 |
| 16 | 1998–1999 | First Swingin' in Vienna. 1 player chosen for All-Northwest Orchestra, 4 chosen for All-State Orchestra. 167 students/teacher. | 1000 | 18 | 5–12 |
| 17 | 1999–2000 | Added 7th teacher full-time. Return trip to southern California. 10 players chosen for All-State Orchestra. 164 students/teacher. | 1146 | 18 | 5–12 |
| 18 | 2000–2001 | Added 8th teacher part-time. First chamber music curriculum. First Evergreen Philharmonic Web site. 3 players chosen for All-Northwest Orchestra, 10 chosen for All-State Orchestra. 164 students/teacher. | 1229 | 19 | 5–12 |
| 19 | 2001–2002 | 8th teacher now full-time. Return trip to southern California. 11 players chosen for All-State Orchestra. 164 students/teacher. | 1310 | 19 | 5–12 |
| 20 | 2002–2003 | First trip to London. 3 players chosen for All-Northwest Orchestra, 8 chosen for All-State Orchestra. 168 students/teacher. | 1340 | 19 | 5–12 |
| 21 | 2003–2004 | 5th grade program moved to before school day. 3 orchestra teachers left district. Return trip to southern California. 10 players chosen for All-State Orchestra. 136 students/teacher. | 682 | 7 | 6–12 |
| 22 | 2004–2005 | 5th grade program still before school day but taught in middle schools. 6 players chosen for All-Northwest Orchestra, 8 chosen for All-State Orchestra. 140 students/teacher. | 702 | 20 | 5–12 |
| 23 | 2005–2006 | First Strings for Kids. Return trip to southern California. 10 players chosen for All-State Orchestra. 136 students/teacher. | 682 | 21 | 5–12 |
| 24 | 2006–2007 | Return trip to London, First trip to Paris. First award of Niles Family Evergreen Scholarship. 2 players chosen for All-Northwest Orchestra, 4 chosen for All-State Orchestra. 145 students/teacher. | 726 | 22 | 5–12 |
| 25 | 2007–2008 | 4 players chosen for All-State Orchestra. 162 students/teacher. | 812 | 22 | 5–12 |
| 26 | 2008–2009 | Build-out of Skyline HS and rebuild of Issaquah HS begun. 4 players chosen for All-Northwest Orchestra, 4 chosen for All-State Orchestra. 164 students/teacher. | 819 | 22 | 5–12 |
| 27 | 2009–2010 | 2 players chosen for All-State Orchestra. 181 students/teacher. | 905 | 22 | 5–12 |
Top | Bulletins | Tickets | Schedule | Information | Forms | Auditions | Tape Tests | Solo/Ensemble | Benefits | History | Repertoire | Faculty | Terms | Sites | District
| Tomaso ALBINONI (1671-1751) | Adagio in G minor for Organ and String Orchestra — 1999 |
| Stephen ANDERSON (1984- ) | Dancing Toothpicks — 2001 "Happy Waltz in A" — 2000 Waltz of the Root Beer and Piano — 2002 |
| Johann Christian BACH (1735-1782) | Concerto in C minor for "Bass Viola" — 1993, 1998 |
| Johann Sebastian BACH (1685-1750) | Matthäuspassion (St Matthew Passion) — 2003 Wachet auf (Awake; Cantata #140) — 2001 "Brandenburg" Concerto #5 in D — 2007 "Brandenburg" Concerto #6 in B flat — 1999, 2002 Chorale Prelude from Wachet auf (Awake; Cantata #140) — 1992, 1993 "Double" Concerto in D minor for 2 Violins — 1994 "Little" Fugue in G minor — 1990 Suite #3 in D for Orchestra — 1999 Violin Concerto in A minor — 1998, 2009 Violin Concerto in E — 1993 |
| Ludwig van BEETHOVEN (1770-1827) | Piano Concerto #1 in C — 1998 Piano Concerto #5 in E flat ("Emperor") — 2006 Overture to Egmont — 1999 Symphony #1 in C — 1988 Symphony #5 in C minor — 1997 Symphony #6 in F — 2004 Violin Concerto in D — 2006 |
| Georges BIZET (1838-1875) | Farandole from L'Arlésienne — 1998 L'amour est un oiseau rebelle (Habañera) from Carmen — 2002, 2006 Les toréadors from Carmen — 2005, 2006 Votre toast, je peux vous le rendre (Toreador Song) from Carmen — 2007 Suite #1 from Carmen — 1994, 1995, 1997 Suite #1 from L'Arlésienne — 2001 Suite #2 from L'Arlésienne — 1996 |
| Ernest BLOCH (1880-1959) | Concerto Grosso #1 in D minor — 2004 |
| Luigi BOCCHERINI (1743-1805) | 'Cello Concerto in B flat — 1992, 1999 |
| Aleksandr BORODIN (1833-1887) | Polovtsian Dances from Prince Igor — 1993, 1994, 1996, 2002 V sryednyei Azii (In [the Steppes of] Central Asia) — 2004 Symphony #2 in B minor — 2008, 2009 |
| Giovanni BOTTESINI (1821-1889) | Tutto il mondo for Voice, Contrabass, and Pianoforte — 2005 Une bouche aimée for Voice, Contrabass, and Pianoforte — 2005 Contrabass Concerto in F sharp minor — 2003 |
| Johannes BRAHMS (1833-1897) | Akademische Festouvertüre (Academic Festival Overture) — 1995 Ungarische Tanz (Hungarian Dance) #5 in F# minor — 2006 Tragische Ouvertüre (Tragic Overture) — 2006 "Double" Concerto in A minor for Violin and 'Cello — 2009 Symphony #1 in C minor — 1992, 2003, 2004, 2005 Symphony #2 in D — 2006 Symphony #3 in F — 2000 |
| Bryan BROCHU (1987- ) | Zenith — 2004 |
| Gordon BROWN (1942- ) | Alla Barocca — 1995 Evergreen Waltz — 1993, 2002, 2003, 2007, 2009 Grande Valse Viennoise — 2008–2010 Invocation on Psalm 148 — 1999, 2007 Memorial — 2001 |
| Max BRUCH (1838-1920) | Romanze in F for Viola and Orchestra — 1998, 2002 Violin Concerto in G minor — 1995, 2004, 2008 |
| Aaron COPLAND (1900-1990) | Fanfare for the Common Man — 2008 Hoe-Down from Rodeo — 2006 |
| Arcangelo CORELLI (1653-1713) | Concerto grosso #7 in D — 2002 Concerto grosso #8 in G minor — 1996 |
| Paul CRESTON (1906-1985) | Concertino for Marimba — 2008 |
| Achille-Claude DEBUSSY (1862-1918) | Danses sacrée et profane — 2004 |
| Antonín DVORÁK (1841-1904) | Karneval (Carnival) Overture — 1997 Legenda (Legend) #6 in C sharp minor — 2002 Písen Rusalky o mêsícku (Song to the Moon) from Rusalka — 2002, 2005 Polednice (Noon Witch) — 2008 Slovanský tanec (Slavonic Dance) #2 (Set 1) in E minor (Dumka) — 2000 Slovanský tanec (Slavonic Dance) #4 (Set 1) in F (Sousedska) — 1992 'Cello Concerto in B minor — 2002, 2008 Serenade in E for Strings — 2007 Symphony #5 (#9) in E minor ("From the New World") — 2007 |
| Edward ELGAR (1857-1934) | Chanson de matin (Morning Song) — 2001 'Cello Concerto in E minor — 2001, 2006 "Pomp and Circumstance Military Marches" #1 in D — 2009 Serenade in E minor for String Orchestra — 1999 Three Bavarian Dances — 1996 |
| Gabriel FAURÉ (1845-1924) | Masques et bergamasques — 2003 Pavane — 1992–1994 Requiem — 1992, 1997, 2001, 2005 Elegy for 'Cello and Orchestra — 1994 Sicilienne from Pelléas et Mélisande — 1996, 1998 Suite from Pelléas et Mélisande — 1995 |
| Friedrich von FLOTOW (1812-1883) | Overture to Martha — 2003 |
| Alexander GLAZUNOV (1865-1936) | Violin Concerto in A minor — 2005 |
| Mikhail GLINKA (1804-1857) | Overture to Russlan and Ludmilla — 2005 |
| Charles-François GOUNOD (1818-1893) | Que fais-tu, blanche tourterelle? from Roméo et Juliette — 2003 |
| Enrique GRANADOS Y CAMPINA (1867-1916) | Intermezzo from Goyescas — 2001 |
| Marcel GRANDJANY (1891-1975) | Aria in Classic Style — 2005 |
| Edvard GRIEG (1843-1907) | Fra Holbergs tid (Holberg Suite) — 1991 Piano Concerto in A minor — 1999 |
| George Frideric HANDEL (1685-1759) | "And the Glory of the Lord" from Messiah — 1999 Hallelujah from Messiah — 1991–2003 Messiah — 1994 Ombra mai fu from Serse (Xerxes) — 1999, 2004 Concerto grosso #5 in D — 1990 Harp Concerto in B flat — 2005 Viola Concerto in B minor (Henri Casadesus?) — 2005 |
| Franz Joseph HAYDN (1732-1809) | "All look up to thee, O Lord" from Die Sch;ouml;pfung (The Creation) — 2009 'Cello Concerto #1 in C — 1995 Trumpet Concerto in E flat — 1997, 2008 |
| Paul HINDEMITH (1895-1963) | Symphonic Metamorphosis of Themes by Carl Maria von Weber — 2007 Trauermusik (Music of Mourning) — 2007 |
| Franz Anton HOFFMEISTER (1754-1812) | Viola Concerto in D — 1999 |
| Alan HOVHANESS (1911-2000) | Psalm and Fugue — 1994 |
| Georges HÜE (1858-1948) | Fantaisie for Flute and Orchestra — 2009 |
| Jessica HULET (1977- ) | Moving On — 1995 |
| Zoltán KODÁLY (1882-1967) | Intermezzo from Háry János — 1994 |
| Erich Wolfgang KORNGOLD (1897-1957) | Der Schneemann (The Snowman) — 1999 Violin Concerto in D major — 2009 |
| Serge KOUSSEVITZKY (1874-1951) | Valse miniature — 2004 |
| Fritz KREISLER (1875-1962) | Liebesfreud (Love's Joy) — 1989 Liebesleid (Love's Sorrow) — 1989 Præludium and Allegro (in the Style of Pugnani) — 1993 |
| Édouard LALO (1823-1892) | Symphonie espagnole — 2003 'Cello Concerto in D minor — 2004, 2006 |
| Ernesto LECUONA (1895-1963) | Suite from Andalucia — 1992, 1999, 2005 |
| Pascual MARQUINA NARRO (1873-1948) | España cañi (Gypsy Spain) — 2009 |
| Michael MAULDIN (1947- ) | Llanos (Plains) — 1989 |
| Catherine McMICHAEL (1954- ) | Café Suite — 2002 |
| Felix MENDELSSOHN-BARTHOLDY (1809-1847) |
Die Hebriden (The Hebrides [Fingal's Cave]) Overture — 1999, 2007 Konzertstück #1 in F minor for Basset Horn and Clarinet — 2008 Symphony #2 in B flat ("Lobgesang [Song of Praise]") — 1999 Symphony #3 in A minor ("Scottish") — 2005 Violin Concerto in E minor — 2004 |
| Matthias Georg MONN (1717-1750) | Concerto in G minor for "Bass Viola" — 1996 |
| Wolfgang Amadeus MOZART (1756-1791) | Eine kleine Nachtmusik (A Little Serenade) — 1988 Il mio tesoro intanto from Don Giovanni — 2006 Durch Zärtlichkeit und Schmeicheln from Die Entführung aus dem Serail — 2008 Là ci darem la mano from Don Giovanni — 2009 Prendero quel brunettino from Cosi fan tutte — 1999, 2001 Regina coeli (Queen of Heaven) — 2003 Requiem in D minor — 1995, 1998, 2002, 2006 Andante in C for Flute and Orchestra — 2005 Clarinet Concerto in A — 2005 Flute Concerto #1 in G — 1992, 2003 Piano Concerto #20 in D minor — 1996 Sinfonia concertante in E flat for Violin and Viola — 1992, 2000 Symphony #29 in A — 1992 |
| Modeste MUSSORGSKY (1839-1881) | Night on Bald Mountain — 1993, 1994, 1998, 2008 |
| Aaron NONIS (1978- ) | The Sounds of Battle — 1994 Tragedy, Life of a Fantasy Lord — 1996 |
| Jacques OFFENBACH [Jacob Eberst] (1819-1880) | Elle a fui, la tourterelle from Les contes d'Hoffmann — 2003 |
| Flor PEETERS (1903-1986) | Fantasia on "Christ Has Risen" — 2009 |
| Sergei PROKOFIEV (1891-1953) | Suite #2 from Romeo and Juliet — 1994, 1995, 2008 |
| Giacomo PUCCINI (1858-1924) | O mio babbino caro from Gianni Schicchi — 2001 |
| Sergei RACHMANINOFF (1873-1943) | Piano Concerto #1 in F sharp minor — 2009 Piano Concerto #2 in C minor — 1992, 2004 |
| Maurice RAVEL (1875-1937) | Pavane pour une infante défunte (Pavane for a Dead Princess) — 2000 |
| Nikolai RIMSKY-KORSAKOV (1844-1908) | Capriccio espagnol — 1998, 2007 Scheherazade — 2004, 2005 Svetliy prazdnik (Bright Holiday) [Russian Easter Overture] — 2006 Concerto in B flat major for Trombone and Military Band — 2007 Flight of the Bumblebee from Tale of Tsar Saltan — 2009 Piano Concerto in C sharp minor — 2007 |
| Ney ROSAURO (1952- ) | Concerto for Marimba and String Orchestra — 2009 |
| Gioacchino ROSSINI (1792-1868) | Una voce poco fa from Il barbiere di Siviglia — 2002 |
| John RUTTER (1945- ) | Requiem — 1996, 2000, 2004, 2008 |
| Joseph SAINT–GEORGES (ca 1739-1799) | Sinfonia in D — 1995 |
| Charles-Camille SAINT–SAËNS (1835-1921) | Danse macabre (Poème symphonique) — 1993, 2009 Havanaise for Violin and Orchestra — 2002 'Cello Concerto #1 in A minor — 1996, 2000 Symphony #3 in C ("Organ") — 2001 Violin Concerto #3 in B minor — 2002, 2006, 2008 |
| Carlos SALZÉDO (1885-1961) | Suite of Eight Dances — 2003 |
| Franz SCHUBERT (1797-1828) | Der Lindenbaum from Winterreise — 2004 Mass #2 in G — 2004, 2007 Symphony #5 in B flat — 2002 Symphony #8 in B minor ("Unfinished") — 1992, 2001 |
| Robert SCHUMANN (1810-1856) | Symphony #3 in E flat ("Rhenish") — 1992 |
| Dmitri SHOSTAKOVICH (1906-1975) | Violin Concerto #1 in A minor — 2009 |
| Jean SIBELIUS (1865-1957) | Finlandia — 1997 Violin Concerto in D minor — 2007 |
| Bedrich SMETANA (1824-1884) | Vltava (The Moldau) from Má vlast (My Fatherland) — 1994 |
| Carl Philipp STAMITZ (1745-1801) | Flute Concerto in G — 2000 Viola Concerto #1 in D — 1996, 2004 |
| Johann STRAUß II (1825-1899) | An der schönen blauen Donau (Blue Danube) — 2000–2010 Frühlingsstimmen (Voices of Spring) — 1999–2010 Kaiserwalzer (Emperor Waltzes) — 1999, 2000, 2002–2010 Künstlerleben (Artist's Life) — 1999–2005, 2008–2010 Mein Herr Marquis ("Laughing Song") from Die Fledermaus — 2007 Rosen aus dem Süden (Roses from the South) — 1999–2010 Tritsch-Tratsch (Chit-Chat) Polka — 2006–2010 Unter Donner und Blitz (Thunder and Lightning) Polka — 2010 |
| Richard STRAUSS (1864-1949) | Horn Concerto #1 in E flat — 2001, 2003, 2005 |
| Pyotr Ilyich TCHAIKOVSKY (1840-1893) | Capriccio italien — 2009 Le lac des cygnes (Swan Lake) — 2003–2005 Marche slave (Slavonic March) — 2007 Pas de deux from Casse-noisette (Nutcracker) — 2009 Pezzo in forma di sonatina from Serenade in C for String Orchestra — 1998 Waltz of the Flowers from Casse-noisette (Nutcracker) — 2001–2010 Introduction and March — 1989 Piano Concerto #1 in B flat minor — 2008 Suite #1 from Casse-noisette (Nutcracker) — 2009 Symphony #6 in B minor ("Pathétique") — 2009 Variations on a Rococo Theme for 'Cello and Orchestra — 2007 Violin Concerto in D — 2005 Waltz from Eugene Onegin — 1994, 2006, 2007, 2009, 2010 Waltz from La belle au bois dormant (Sleeping Beauty) — 1995, 1999, 2000, 2002–2010 |
| Georg Philipp TELEMANN (1681-1767) | Concerto in G for 2 Violas — 2000 Viola Concerto in G — 2001 |
| Eduard TUBIN (1905-1982) | Contrabass Concerto — 2006 |
| Ralph VAUGHAN WILLIAMS (1872-1958) | Concerto in F minor for Bass Tuba — 1997, 2003 Fantasia on a Theme of Thomas Tallis — 2001, 2008 Fantasia on "Greensleeves" from Sir John in Love — 1991, 2000 |
| Giuseppe VERDI (1813-1901) | Overture to Nabucco (Nebuchadnezzar) — 1988 |
| Heitor VILLA-LOBOS (1887-1959) | Bachianas brasileiras #5 for voice and 8 'celli — 1995, 1997, 2006 |
| Antonio VIVALDI (1678-1741) | Gloria — 1990, 1993, 2009 Gloria in excelsis — 1999 L'inverno (Winter) from Le quattro stagioni (The Four Seasons) — 2005 Concerto in G minor for 2 'Celli — 1994 Concerto in C for 2 Trumpets — 1995 Concerto for 2 Violins — 1990 Concerto in A minor for 2 Violins — 2000 Concerto in D minor for 2 Violins — 2001 Concerto in D minor for 2 Violins and 'Cello — 1997 Concerto in E minor for 4 Violins — 1992 |
| Richard WAGNER (1813-1883) | Overture to Die Meistersinger von Nürnberg — 2000 Walkürenritt (Ride of the Valkyries) from Die Walküre — 2007 |
| Émile WALDTEUFEL (1837-1915) | Les patineurs (The Skaters) — 1999–2010 |
| Carl Maria von WEBER (1786-1826) | Andante e rondo ungarese — 2003 Clarinet Concerto #1 in F minor — 2002 Overture to Oberon — 2000 |
| Henryk WIENIAWSKI (1835-1880) | Violin Concerto #2 in D minor — 2006 |
Top | Bulletins | Tickets | Schedule | Information | Forms | Auditions | Tape Tests | Solo/Ensemble | Benefits | History | Repertoire | Faculty | Terms | Sites | District
| Instructor | Teaches at | School phone(s) | E-mail address |
| Jana Dalpez | Liberty High Maywood Middle (Base) |
425-837-4887 (Liberty) 425-837-6948 (Maywood) |
dalpezj@issaquah.wednet.edu |
| Mollie Ewing | Pine Lake Middle (Base) | 425-837-5750 |
ewingm@issaquah.wednet.edu |
| Doug Longman | Issaquah High (Base) Skyline High |
425-837-6117 (Issaquah) 425-837-7790 (Skyline) |
longmand@issaquah.wednet.edu |
| Terry Shade | Issaquah Middle | 425-837-6808 | shadet@issaquah.wednet.edu |
| Marianna Vail | Pacific Cascade Freshman Beaver Lake Middle (Base) |
425-837-5958 (Pacific Cascade) 425-837-6390 (Beaver Lake) |
vailm@issaquah.wednet.edu |
Top | Bulletins | Tickets | Schedule | Information | Forms | Auditions | Tape Tests | Solo/Ensemble | Benefits | History | Repertoire | Faculty | Terms | Sites | District
Top | Bulletins | Tickets | Schedule | Information | Forms | Auditions | Tape Tests | Solo/Ensemble | Benefits | History | Repertoire | Faculty | Terms | Sites | District