Suggestions for a Successful Audition
By Jim Arnwine
With contributions from
Kevin Brown, Jack Taylor, Jo Stoup and Alyson McLamore
I have been asked to write a few thoughts about what
adjudicators like and dislike about how students conduct themselves during
auditions. I asked a number of musicians who actively audition students for
honor groups, concerto performances and awards competitions for their thoughts.
These comments concern the process of the audition only, not the musical
criteria for an audition, and are equally important to the success of your
audition.
1. Know the particular information about the group for which
you are auditioning.
- Check the dates of
rehearsals and performances to make sure you will be able to participate if
you are selected.
- Do not audition for a
group if you do not intend to participate
a) You waste the time of many people when you are selected to
be a member of an honor group and then do not participate. Not only do you
waste the adjudicator’s time but also that or the organizers of the ensemble who
must then find replacements.
b) Much worse are those who, rather than tell the organizers
of the event that they will not participate, simply do not show up. This
irresponsible behavior is a disservice to everyone involved.
c) If you are selected – and don’t participate – you’ve taken
the spot away from someone who would have dearly loved to have been accepted.
This is selfish and thoughtless.
- If a dire emergency forces
your plans to change, contact the organizers at once.
2. Know what music to perform in each particular audition.
Ask the following questions if you don’t know the answers already:
a) Often asked for are a prepared piece (solo or etude), two
prepared pieces of contrasting character, or a mandatory selection
b) Don’t play your particular part to a band or orchestra
composition that you are playing in school
- Should the music be
memorized?
- Is a piano accompaniment
expected? If so, bring an accompanist with you. [None required for PYSO.]
a) Be sure to arrange for your accompanist enough in advance
that he/she can properly prepare for the audition.
b) The accompanist should be performing from a published
score, not a photocopy. Many organizations will not hear an audition if
photocopied music is being used.
- Bring a set of the music
for the adjudicator
- Be prepared to play scales
or exercises if asked.
3. Treat the audition process (and adjudicators) with
respect.
- Enter the room with your
instrument assembled and ready to go.
- Be polite and introduce
yourself. Speak clearly and distinctly (don’t mumble!) Many audition rooms
have a lot of echo, and the adjudicator may find it hard to understand you if
you don’t enunciate.
- Do not act overly familiar
or be too chatty; many students do so because of nerves.
- Even if you are familiar
with the adjudicator, treat him or her with the same respect you would any
other judge.
- Dress appropriately for an
audition, not in jeans, shorts, or t-shirt. However, make sure you are
physically comfortable in what you wear – nothing too tight, or short, or
overly fancy. High heels can be a problem when you’re nervous to begin with.
- Be respectful of other
auditioners; be quiet outside of the audition rooms.
4. Be prompt
- Find the travel directions
to the audition site in advance
- If you are traveling some
distance, allow time for traffic. You may need to listen to traffic reports
on the radio.
- It adds to your stress to
arrive late – and, since participants in the ensemble need to arrive at
rehearsals on time, you may hurt your chances of being accepted by showing up
late at the audition itself.
- Arrive early enough to:
a) Find the site (especially important if the audition is on
a large campus)
b) Check-in with organizers
c) Warm-up carefully – but don’t play too much and tire
yourself out. A foolish applicant ‘shows off’ in the warm-up room, and then is
worn out for the audition itself.
d) Be at the audition room for your particular instrument
at least five minutes before your scheduled audition time.
5. It is better to play an easier piece well than a difficult
piece badly. Just because the piece you play is more advanced than that
performed by others does not mean you will be selected over them.
6. In many, many instances, the adjudicator may cut you off
before you have reached the end of your piece or etude. This is not an
indication that you are playing poorly; it often shows the desire to have you
play varied examples in the limited time available for your audition. However,
don’t try to anticipate a “cut-off.” Keep going (confidently!) until told to
stop.
7. Do not apologize or give excuses for what you may feel is
a poor performance (either before or after your audition). Show confidence and
maturity. Everyone makes mistakes; not everyone is able to handle the errors
professionally. It is to your advantage to display a good attitude;
adjudicators often make a note of this on their comment sheets, and this opinion
can tip the balance if your audition was on the borderline.
8. Do not end your audition by asking “How did I do?” or “Did
I make it?” These decisions are made after all applicants have been heard.
Instead, thank the adjudicator for his or her time and for giving you the
opportunity to try out.
9. Please take the time to look around and make sure you’ve
picked up all your belongings before leaving the audition room. Also, try not
to carry off things that aren’t yours – it is very easy to pick up sight-reading
music, etc., by mistake.
10. Give yourself a pat on the back for being brave enough to
audition. Playing “solo” requires courage, and you should be proud of yourself.
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