Beruflich Dokumente
Kultur Dokumente
Pokorny
Washington, DC - US Army Band Tuba-Euphonium Conference (2/5 at 1:30 PM)
Make the right impression before you even play a note. Resumes should have the
following:
2. Type it.
3. Is it the truth?
7. Phone number where you can actually be reached or a message can be left.
Include area code.
Race
Creed
Religion
Sex
Marital status
10. List only the organizations that will flatter (Daniel Barenboim will probably not
be too impressed with the fact that you were first chair contra-bass bugle in the
East Cupcake, Idaho All Boys' Drum and Bagel Corps).
11. It will not hurt you to mention that you belong to a musical fraternity or are a
member of TUBA.
12. Do not forget to list any semi-finalist or finalist achievements you may have
attained at other auditions.
13. List the fact that you play a secondary instrument besides your primary one
(cimbasso, euphonium, contrabass trombone, etc.)
14. List music festivals, chamber music groups or solo festivals you've been involved
with. As well, list awards and scholarships attained.
Audition preparation
The process of an audition is a replacement process. It starts with the opening but does
not end until tenure is achieved.
If possible listen to excerpts done by the best orchestras around. If possible listen to
recordings of the orchestra with whom you are auditioning. Consider the possibility
that the audition committee may be looking for something completely different than
what you are hearing on that orchestra's recordings.
Work from a position of strength. Let the excerpt you are working on be successful
early on even if the only thing that is successful about it is a steady tempo. After that,
work on the notes. After that, the dynamics, etc. It doesn't matter as long as you are
expanding upon something (anything) that is successful with the way you are playing.
In other words, don't look at the goals as big, many and insurmountable. If a glass is
7/8 empty (i.e. unsuccessful) do not work on that part. Work on the 1/8 that is full (i.e.
successful) and expand upon it.
Play for friends. Invite them over or, better yet, go to a large hall or church and hold
your "mock" audition there. Get used to walking out, sitting down, playing through the
excerpts non-stop in any order.
Don't just play excerpts in preparation for an audition. Go through your entire warm-
up and daily routine before working on the audition material (deep breathing,
mouthpiece buzzing, long tones, melodious low etudes, lip trills, single tonguing,
double tonguing, sight-reading, etc.). You should also be working on solo music
whether it is a requirement at the audition or not.
Important equipment:
Use an electronic metronome, a tuner and a tape recorder that has variable speeds
including a half-speed (double-speed) capability. An in-tune piano is helpful especially
to sit next to sidesaddle with the tuba and play excerpts and /or solo lines together. Ask
if this is not clear.
Although it is important to play in a small room to make sure you are not faking fast
passages, get into a big hall and get used to projecting "beyond the coat closet" out to
the last "exit" sign in the building.
Audition Day:
No "special" warm-ups
2. Make a beautiful, flattering sound to whet their palette for what is to come. No
turgid, double-pedal ZZZZ's
3. Listen to the hall while you play. Imagine what you sound like out there.
5. Before playing any excerpt, slow everything down. LOOK at the excerpt.
Mentally play it before a sound is produced.
6. Try not to hear players before or after you. Though they may really not be
sounding good, you may think they are and will spoil the concentration you
must have for yourself. Remember, the worst competition is not the other person;
it is ourselves. We must be able to play up to the level we know of which we are
capable in a pressure situation. Others don't matter in this regard.
BE YOURSELF
1. Don't try playing like your teacher or your mentor on the day of your audition if
it means changing something.
2. Don't play like others around you.
3. Don't use different, unfamiliar horns and don't decide to use alternative
fingerings at the last minute.
Be aware of:
1. Musicianship
2. Rhythm
3. Tempo. Stick to a tempo once you're on it.
4. Intonation. Know characteristics of relative intonation in solos and excerpts.
Refer to Christopher Leuba's book on intonation to find tendencies.
5. Dynamics. Use the full range. Brass players generally never get soft enough for
committees. Remember there are non-brass players on the committee who might
not buy into the "CREED" like you do. At least, give the illusion that you are a
sensitive musician.
Recommendations:
Get yourself on an audition committee or just get permission to sit in on auditions of
any orchestra you can (pro, community, university, etc.) for ANY instrument. You'll
learn a lot just by listening to what (all) players do on stage.
Listen to special instructions that come from behind the screen. They are often ignored.
Excerpts themselves should be very characteristic especially those that come from tutti
sections BUT if there is an absolute solo, show them what you can do. Put it on the line!
(i.e. "American in Paris" has go to WHALE!!)
REMEMBER:
You are being judged as a Potential Colleague. Among others, these are four major
factors that tell a committee how you will be in the section:
1. Preparation
2. Conscientiousness
3. Attitude
4. Absolutely world-class tone
Preliminary Audition Committee Objectives:
1. Skill and Craftsmanship
2. Command of the instrument (the ability of you to control the instrument and not
that of the instrument to control you)
3. Intonation
4. Rhythm
5. Conception of the piece or excerpt
6. General Musicianship
7. Selected Tempos
© 2000 jmpernic@yahoo.com