The month of March kicks off Youth Orchestra Audition season in my studio. I’d say about ¾ of my students who are eligible for a Youth Orchestra are either part of a Youth Orchestra organization already or are planning to audition in this year.
I’ve been working on repertoire selection over the last week, and so today’s newsletter will cover my tips for audition success. Whether you’re of an age to play in a Youth Orchestra, or if you’re of an age to play in a Community Orchestra, I think today’s tips will be helpful as you prepare for potential auditions.
Repertoire Selection
In non-professional auditions, you often have the opportunity to choose your own repertoire for an audition. This is both a challenge and a gift from the panel you’ll be playing for. It’s a challenge because it can be intimidating trying to guess what the panel will want to hear. I think it’s a gift because you can pull out a piece that you’ve played before, and have a more comfortable audition (potentially).
How to select audition repertoire:
Choose contrasting repertoire - one slow/one fast or one lyrical/one technical. Technical pieces can be mixed meter or fast or have lots of articulation required. The repertoire should fall in two different time periods of music, if possible.
Follow the posted guidelines for time limit. Plan how much you’ll play of each piece you choose so you can stop rather than being interrupted and asked to stop.
If there is a “suggested piece” posted, use it if it’s of a similar difficulty to your playing level, but don’t use it if it’s far simpler than your normal playing level.
Scale preparation
Scale requirements are a normal part of Youth Orchestra audition. I haven’t auditioned for a Community Band or Orchestra, so I’m not sure if a scale requirement would be typical for an adult amateur audition.
Make sure you:
Know exactly which scales are required, and practice them in rotation leading up to your audition date.
Follow any memorization requirements listed, and if you’re worried about memorization, bring a scale cheat sheet so you can use it as reference during the audition.
Incorporate any required articulation patterns in your practice.
Sightreading practice
The final element that many people forget to practice leading up to an audition is Sightreading. (This is sometimes a thing we pros have to do in auditions too. One of my near-miss auditions in the early 2010s was down to sightreading and I totally biffed it, so was eliminated in the semi-final round!)
How to practice sightreading:
Sightread for at least 5 minutes every time you practice.
Choose music that is either at or just below your normal repertoire level in terms of hardness. (this takes into account rhythms, key signatures, and range). A good option would be to flip forward in your etude book or method book a few pages and read 2-3 lines of whatever page you land on.
Use an online sightreading tool like Sightreading Factory to make it even easier for yourself. SRF is actually a great tool because it puts together really amusical melodies, so you’re challenged to really play what’s on the screen.
Purchase a sightreading book. There are many approaches to developing your sightreading skills, and books have been written both with “how to be better at sightreading” and also “melodies for practicing sightreading” in mind.
Set reasonable expectations for yourself
Finally, you need to have reasonable expectations for your results. Playing oboe is less competitive by far than flute, clarinet, or violin, but you’re never guaranteed specific results. Rather than putting a lot of weight on getting in or getting the chair you want, try instead to play your best. Taking a little of the pressure of “I really want to get in” off yourself can make it easier to play well and actually get the result you want.
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