Klarinet Archive - Posting 000582.txt from 2003/02

From: "Fernando Silveira" <amigo222@-----.br>
Subj: Re: [kl] Audition preparation
Date: Fri, 21 Feb 2003 15:13:28 -0500

Hi Mr. Fobes.
Congratulations for the very good article.
I just want to give my two cents.
Is import to know, as much as you can, how the clarinet section plays. If
possible go to one concert to hear those clarinet players from the orchestra
you want to attend a audition. Is important to know how they phrase, how
dark their sound are(or bright), etc. For me is inportant you "fit" the same
musical concept of them.
I already saw very good clarinet players that didn't won an audition because
they didn't show the same tone color compared with the clarinet section.
I don't know if I were clear, but I hope you can understand.

All my best

Fernando Silveira
Clarinet Professor - Rio de Janeiro University
----- Original Message -----
From: "CLARK FOBES " <reedman@-----.com>
Subject: [kl] Audition preparation

>
> A teacher I know just asked me to write a simple note about audition
> preparation knowing that I am preparing for the upcoming San Francisco
> Symphony bass clarinet position. I thought some of the younger players on
> the list might be interested in this too.
>
> There are certainly more specifics that go into preparation than what I
> have listed, but these are the big points that are important to me.
>
> #1. Have a professional looking resume. List all of your professional
> experience and any awards. DON'T LIE about your experience, but make it
> look as good as possible.
>
> #2. Get the repertoire list from the orchestra as soon as possible and
> do the following:
>
> Make an "excerpt book" of your own containing only the
excerpts
> you need to know. This will help you focus.
> Be certain to have recordings of all of the excerpts and
> develop a good musical concept of the excerpt.
> Consult scores so that you have a thorough knowledge of the
> ensemble playing associated with the excerpt.
>
> #3. For clarinetists, always have the exposition of the 1st movement
of
> the Mozart Clarinet under your fingers. (Preferably memorized) I
> have never played an audition that did not ask for this.
>
> #4. Give yourself enough time to work up the excerpts thoroughly. By
> the last two weeks before the audition you should be able to play through
> the excerpts without stopping. I memorize many of the excerpts. Develop
> your musical concepts early and from the two week period prior to the
> audition don't listen to recordings. Focus on your interpretation and
stick
> to it! (This assumes that you have a correct interpretation)
>
> #4a. As part of the hard work towards preparing the excerpts you must
> have:
>
> Metronome - preferably one that will tick in multiple meters -
> Dr. Beat.
> Tuner
> Tape recorder.
>
> I cannot emphasize enough the importance of taping yourself and
> LISTENING carefully. The lessons we learn on our own are much more
valuable
> than any other type of input. Don't get obsessed with taping, but use it
as
> a tool to check yourself periodically. It is amazing how we can let little
> idiosyncrasies creep into to our playing.
>
> ALWAYS use a metronome. For every time you play the excerpt
without
> a metronome you should play it 5 times with the metronome. BUT, be aware
of
> the subtle difference between playing LIKE A METRONOME and just having a
> secure rhythmic underpinning to your playing.
>
> If you feel you are really ready to audition for an orchestra,
> pitch should not be a big issue in your playing, but check yourself
> regularly to be certain you are not letting disturbing pitch discrepancies
> appear. This will also be apparent in your taping process.
>
> #5. If you are an inexperienced player seek the help of someone who
has
> a lot of orchestral experience and play the excerpts for them. (Do this
> prior to the 2 week period)
>
> #6. Avoid equipment switching (mouthpieces,ligatures, barrels,
> clarinets) within 4 weeks of the audition
>
> #7. Be over prepared with reeds. Especially if you are travelling to
an
> audition you will encounter different weather environments and you need to
> have a good variety of reeds. 12 really good reeds is usually sufficient.
> Bring a reed knife, clipper and sand paper to make adjustments.
>
> #8. The last 2 weeks of your preparation are critical. This is the
time
> you should be focusing on being able to play through the music with out
> interruption. Don't ever get yourself into a situation of panic
practicing.
> Music is always best approached from a point of inner calm - your final
> "performance" will reflect how you have practiced.
>
> #9. Physical preparation. Auditions are very stressful. Exercise
> reduces stress. Try to exercise regularly prior to the audition so that
you
> enter the last week in peak physical condition. Avoid people with colds.
> Become a recluse if necessary! Avoid alcohol and don't overdue the
> caffeine!!
>
> #10. Spiritual preparation. This is an area that I think is often
> avoided by teachers, because it is a very personal subject. Whatever you
> spirituality may involve - use it! For some it might be prayer, for others
> it might be simple meditation. Music is a highly spiritual activity and
> this includes the audition process. Spend some time every day meditating
> about the music so that you can approach the audition from a very high
> level of spirituality and inner calm.
>
> When you finally reach the point of going on stage believe in your
> preparation and devote yourself to making good music. I find it helpful
to
> imagine that I am in my favorite orchestra with my good friends and
> colleagues around me. I also like to imagine a conductor I have worked
with
> and that I admire conducting me through the piece. All of these things
help
> to take your attention away from yourself and put it towards the music.
>
>
>
>
>
> CLARK FOBES
> reedman@-----.com
> Why Wait? Move to EarthLink.
>
>
>
>
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>

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