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Random Thoughts From the Other Side of the Table
(An adjudicator's perspective on auditions)
The following are some random thoughts from an adjudicator's point of view:
- We're rooting for you, we hope you will play well. We want your audition to give us a picture of your best playing.
- We're looking for what you can do on your instrument, not what you cannot do. We're not counting mistakes! Don't consider yourself five mistakes away from not making the ensembles.
- We are looking for the overall picture of how you play. Through your solo, scales, and sight reading, we're getting an idea of your level of confidence, your tone, and how far your technique has developed.
- Very often, the various parts of your audition relate to each other. Students with good playing position, strong tone, and a polished solo are also relatively solid on scales and sight-reading. Students with problems in their playing often have trouble in other areas.
- If you are placed in an ensemble or section of an orchestra for more than one year, you are not being punished or held back. It just means that, based on your and everyone else's audition, that particular place is most appropriate for you.We realize that you come to your audition with some expectations. You may have an ensemble, section, or even a chair in mind. Your parents and private teacher may as well. Your placement in an ensemble is determined not only by how you play on the day of the audition, but also how everyone else plays on that day. You, your parents, and your teacher know how well you play at home and in your lessons, and how hard you have worked to prepare. Your adjudicators, however, know how everyone played. Be prepared, relax, and play us a story. Remember, we're rooting for you!!
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Blood, Sweat, but no Tears
by Robert Frelly
You feel queasy, yet exhilarated. You are dreading it at the same time you are looking forward to it. When it's over, you don't know whether to laugh or cry. If this seems familiar to you, then you've probably experienced the thrill and agony of a live audition. All performers even the pros experience nerves when playing before an audience, whether it's for two adjudicators in a classroom or for an auditorium of over 1,000 concert attendees. Sometimes the nerves are so bad that if left unchecked can cause you to freeze, forget your own name, and wish you anywhere but in that room. When controlled, however, nerves can work to your advantage by inspiring you to play at the best of your ability. The best way of combating excessive nerves is to be prepared! You have only one play-through at an audition, one chance to show the adjudicators how well you play, so you must make it your best. Here are a few areas to work on as you prepare:
Intonation
Identify the problem spots. Is it just the half and whole steps or is it shifting? Is it an embouchure problem? If the difficulty is not at the beginning of the piece but is in measure four, then practice measure four. Ensure at least four successive excellent play-throughs of the problem spot before moving on to a larger portion of the piece. Isolate the problems, practice correctly, then test yourself by playing a larger passage, and ultimately the whole piece to see if you can correct the intonation/shifting/embouchure problem(s).
Tempo
Are you able to maintain the tempo from one measure to the next, or even within the same measure? If not, then break the piece into smaller segments, either phrase by phrase or line by line. Practice slowly at first, with a metronome, until you achieve four successive excellent play-throughs of the phrase before moving to a faster tempo. Remember, you're working on control and stamina. Record yourself without the metronome and listen. Were you able to maintain the tempo or is there one measure you're rushing or slowing down?
Rhythm
If rhythm is a problem, mark the music, count ahead, and allow the pulse to help delineate the rhythm. Isolate the problem. Try tapping or clapping the rhythms slowly at first. Then, play the rhythms on a single note. When this is successful (for how many times in a row?), play the rhythm as written, slowly at first, then gradually increase the speed. Be sure to play the measures leading up to the problem spot and continue for several measures beyond it.
Bowing/Articulation
If you have difficulty distinguishing the bowing or articulation from the rhythmic problem, practice the passage without the slurs and ties. Add them one at a time, first the tie, then the slur. Tackle one problem at a time.
Color (Dynamics, Mood, Vibrato)
Does the composer call for a forte? If so, what type is it brassy, warm, vibrant? What techniques would you employ to generate that sound? If the composer writes piano, is it cuddly, mysterious, whispering? Does the composer indicate the mood furioso or dolce? Take out your music dictionary. Envision a story as the piece unfolds. Create the magic of telling a tale without uttering a word.
Trial Runs
Play your solo in an informal setting for your parents, brothers, sisters, neighbors, dogs, cats, even your friends. If they distract you, so much the better, because this tests your powers of concentration. You need to find out what parts of the piece require more attention when you are under stress (in a performance situation).
Performance: The Audition
The day has arrived. You've done your homework and are as fully prepared as possible. Arrive to the audition early. Warm up slowly, listening carefully to your tone. Play through your whole piece slowly at first. Remember to breathe and relax your shoulders. Step into your performance with the confidence of knowing that you are totally prepared and that whatever happens, you did your very best!
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