Klarinet Archive - Posting 000677.txt from 2003/02

From: Daniel Paprocki <danbascl@-----.com>
Subj: Re: [kl] Audition preparation
Date: Sat, 22 Feb 2003 18:06:12 -0500

Clark,
Good ideas. I'll see you at the audition. I've got Indy Symphony this
week with the Mariachi Cobre.

Dan
-- --

Dr. Daniel A. Paprocki
Clarinet, Eb, and Bass Clarinet
Bowling Green, Kentucky

From: "CLARK FOBES " <reedman@-----.com>
Date: Fri, 21 Feb 2003 08:55:33 -0800
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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