AUDITION PREPARATION

Here are some tips as you prepare for auditions.  We conductors are looking for a lot of qualities as we listen to you.  It becomes immediately obvious when you are well prepared!

Scales

     First of all, be “conversant” in your scales.  Think of scales as a means to introduce yourself to he conductor.  They need to be played with confidence, with a big, full tone, and played well-in tune.  Don’t ever take scales for granted!  Competence in scales gives one a foundation for being able to play music skillfully.  Scales are the vehicles for conquering the technical demands of your music and for conquering sightreading, which I will address later.

Solo

     The next part of your audition is your solo.  Are the conductors interested in technical solos?  Yes, but not if MUSIC is sacrificed!  We would prefer to hear something played with beauty and expression, with style and a lovely tone, and with excellent tuning, rather than a technical piece that sacrifices any of those qualities.  Technique for technique’s sake is not music to us.  Until you are playing expressively and in tune, lots of notes are not going to impress us.  If you play fast and sloppy on your prepared piece, we must consider that your practice habits need improvement.  Since musicians generally work on their solos over a long period of time, it is important to us that you display thorough preparation.

Sight-reading

     Sight-reading!  You might say, ugh!  But its importance cannot be emphasized enough.  The first twp aspects of sight-reading that are important are (1) recognition of the key of the piece (scale knowledge!) and (2) good reading of rhythms.  Not only the correct execution of rhythms, but the proper counting of note values is essential.

     Sight reading skills are developed just as normal reading skills are developed.  As in every learned skill, there is a process.  You learn your ABC’s (scales) and you start by reading easy music.                                  You read more and more to build your “musical vocabulary”.  As you advance, you read with greater fluency and knowledge. 

     To reach a high level of proficiency in sight-reading, one must have an advanced vocabulary (scale knowledge, key signature and rhythmic recognition), and one must have the ability to include expressive qualities.  This would put the sight-reading of the advanced musician near a performance level.

     You can practice for sight reading!  Just do it!  Start by reading something easy. Be sure you

     .  Observe the key signature

     .  Count carefully

     .  Watch for accidentals and rhythmic changes

     .  Observe your dynamics

     .  Play at a tempo where you feel you can get through the

        music without stopping (slower is better), and

     .  Try your best to be expressive!

     Also, look up the words at the beginning of your music, like “andante”, “allegro”, etc., since they are clues about the speed and/or style of the music.  Include sight-reading in your daily practice so you can be fluent in your music reading!

Above All, Be Expressive

     Think of your audition as an interview.  Know that you will have competition.  You want to appear confident and knowledgeable, and you want to convince the conductors that you are just the right person for their orchestra.  First impressions are important.  Preparation should be thorough.  Prove yourself technically and above all, be expressive!