PREPARING FOR AN AUDITION
By Dr. Jill White FRAM FBSM HonRCM HonDMus(Bristol)

1. READ THE RULES CAREFULLY

2. TAKE GREAT CARE TO SELECT YOUR PROGRAMME TO:-
A) Comply with the rules
B) Choose balanced and key related works
NB: Do NOT over-run the offered slot
C) Ensure that you have chosen pieces that you know well and are comfortable with

3. PIANIST/KEYBOARD:-

If there is an official pianist it is generally advisable to use him/her

Your own pianist/partner must be secure and not thrown by the stress of the occassion

4. If required to provide music, ensure that you have brought the panel the same editions and one's specified!

5. Make sure that your application is submitted on time and that your keyboard partner is available on the day and is flexible because schedules may change.

6. Allow plenty of time to prepare your programme ahead of the audition by ensuring that there is sufficient 'marinating' time.

i.e. It is wise to prepare the programme well ahead of the audition date so that you can then put it aside before working on it nearer the time

This allows the subconscious mind to work on the programme too.

7. Ensure that your instrument is in good order! Do not leave this to the last minute! Also make sure that you have with you your mouth-piece, spare reeds/spare boys/strings and maybe a second instrument!

8. On the day allow plenty of time for unexpected eventualities that may cause you to arrive late. Do not expect the panel to accept your 'excuses'

9. WHEN YOU ENTER THE AUDITION ROOM : -
a) Be comfortable - be properly dressed for the occasion!
b) Be confident but remember - over confidence is a deterrant!!!

i.e. Remember Body language speaks volumes!!

REMEMBER : -

You are offering yourself to be considered to play before a critical and paying audience - it is therefore essential that you show that you have a suitable dress sense and of course PLATFORM MANNER. Remember you are 'on show' the moment your big toe steps onto the platform, or enters the audition room.

10. During the audition refrain from trying to assess the response from the jury by looking at them!

NB: STAY FOCUSSED ON THE MUSIC - NOTHING IMPRESSES A JURY PANEL MORE THAT!

11. If things go seriously astray during the audition, keep cool!

WE ARE ALL HUMAN - BE NATURAL - EVEN STOP AND EXPLAIN -
IT HAPPENS IN THE BEST OF FAMILIES AND LIVE ON AIR!

SMILE, BREATHE DEEPLY - DON'T GRIMACE OR PANIC!

12. If unwell, in certain circumstances, it is wise to bring a medical note. It will make you feel better, although it may not necessarily help the panel who have a responsibility to choose 'on the day' from what they hear, not what they surmise the potential may be

13. ACOUSTIC! Take care to assess how the acoustic may or not help your interpretation.

14. ATMOSPHERE AND PERFORMANCE ELECTRICITY!

Hold the tension to the end of a piece, even if the postlude is extensive. Do not rush into the next work. Unless that is the accepted style - pauses are important!

NB: Such pauses should be allowed for in your calculation of time allotted when planning your programme - accurate timings are a professional requirement

OVERRUNNING CAN BE FROWNED UPON AND MAY ELIMINATE YOU IN SOME CASES !

15. Remember to have a clean hankerchief to wipe your hands or brow - you may be extra nervous and that will promote perspiration! If used, turn away from your audience

16. WATER

If you think you may have a need for water, do not place it on the piano - be discrete. Do not make a drama or distraction with it.

NB: BE DISCRETE TOO WHEN CLEANING, CHANGING YOUR INSTRUMENT, MOUTHPIECE OR STRING

17. IF YOU WISH TO INTRODUCE YOUR PROGRAMME

a) Do not speak too quickly - remember the acoustic will affect speech
b) Project your voice - use clear consonants
c) Avoid monotous self-conscious delivery
d) Do not drop your voice at the end of sentences

USE INFLECTION OF VOICE, i.e. PITCH, PACE AND PULSE, NB: PRACTICE THIS - CLEAR CONSONANTS HELP CLARITY - DO NOT DROP YOUR VOICE AT THE END OF SENTENCES.

18. COMPOSE YOURSELF BEFORE PLAYING - BREATH PROPERLY!

19. Be sure to observe all the composer's expression marks - but be knowledgeable about editor's markings and composer's original editions

MUSIC IS NOT ONLY ABOUT THE RIGHT NOTES AT THE RIGHT PITCH AT THE
RIGHT PULSE AND RIGHT RHYTHM!

IT IS ABOUT THE 'NOTES IN BETWEEN' !

20. If there is an interview never try to bluff - be honest - and feel free to ask questions

BE SINCERE, FOCUSSED, & RESPECTFUL OF THE MUSIC

PUT YOUR AUDIENCE AT THEIR EASE

SMILE AND CHARM PLAY IMPORTANT PARTS IN THE OVERALL IMPRESSION.

Dr. Jill White, July 2006