Klarinet Archive - Posting 000585.txt from 2003/02
From: "James Sclater" <Sclater@-----.edu>
Subj: Re: [kl] Audition preparation
Date: Fri, 21 Feb 2003 15:13:31 -0500
Thanks, Clark. That has to be one of the most well-written, concise, =
helpful posts on the list in a long time.
Jim Sclater
>>> reedman@-----.com 02/21/03 10:55AM >>>
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.
=20
#2. Get the repertoire list from the orchestra as soon as possible and
do the following:
=20
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.
=20
#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.
=20
#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)
=20
#4a. As part of the hard work towards preparing the excerpts you must
have:
=20
Metronome - preferably one that will tick in multiple meters -
Dr. Beat.
Tuner
Tape recorder.
=20
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.
=20
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.
=20
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.
=20
#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)
=20
#6. Avoid equipment switching (mouthpieces,ligatures, barrels,
clarinets) within 4 weeks of the audition
=20
#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.
=20
#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.
=20
#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!!
=20
#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.
=20
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.
=20
=20
=20
CLARK FOBES=20
reedman@-----.com=20
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