 The Clarinet BBoard
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Author: C.Elizabeth07
Date: 2012-12-03 05:13
I am sure this has been asked here previously, I have difficulty searching for previous posts (I'm not the most technologically savvy person). So if this is repetitive, my apologies....
I am currently working towards my Masters in Performance and will be taking my first professional orchestral audition.
Its not that I am new to auditioning or to the audition process, but seeing as this will be my first orchestral audition with a professional orchestra I'd like to know what to expect before I actually get there.
Any experiences, advice, things to not do etc. would be greatly appreciated! I'm really excited about the opportunity to do this, no matter what the outcome. I just want to make sure I am as prepared as possible (and not just with the excerpts-which thankfully I am comfortable with 90% of them!) Thanks!
Post Edited (2012-12-03 05:34)
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Author: Ken Shaw ★2017
Date: 2012-12-03 13:04
100% of auditions call for the Midsummer Night's Dream bits, the Beethoven 6th solos, portions of the Mozart Concerto, Polovetsian Dances and probably Capriccio Espagnol.
If the audition is for a top professional spot, or set up as practice for one, unfortunately you will quickly be asked for the 10% of passages that give everyone trouble -- Daphnis and Chloe, Miraculous Mandarin, Galanta Dances, Ginastera Variaziones. As Ed Palanker has said, there's no substitute for having, say, the Daphnis noodling down cold and memorized. His site http://eddiesclarinet.com is a treasure-house of wisdom and hints on getting through problematic passages, coming from a major symphony player.
Ken Shaw
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Author: Bob Phillips
Date: 2012-12-03 15:45
Expect to be tossed out right away if you do anything that makes the committee think that you'll be a difficult partner. You can not make any timing errors, flub a note or play out of tune.
Beyond that, you need to play beautifully and expressively.
Here's a tip from one of your own Canadian principals: Before retiring each night, record the entire assigned abstracts. Sleep on them. In the morning, play your previous recordings and make notes on things you would like to change. Use those notes to guide the day's practice. Repeat, Repeat.
Then, you'll be certain that you are presenting YOU, yourself.
But be resigned to the fact that the committee may just simply not think that YOU fit with THEM.
I wish you the best of luck and rewards for your diligence.
Bob Phillips
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Author: C.Elizabeth07
Date: 2012-12-03 19:26
Thanks for the replies,
I have the list already, and I feel very comfortable with the excerpts (they are ones I've been studying for years now or are from repertoire I've performed in the past). Some how I got off the hook with Daphnis and the Bartok- not on the list, but I've memorized that noodle-y part from 214-end
I feel prepared with excerpts and with my approach to them, I'm looking more for just general "what to expect when I get there" kind of things. How many people on average will be at the audition? What the over all procedure is, things to not do, things to make sure I do? I feel that I will be well prepared (or as prepared as I am able to be at this point in my playing), I just want to be prepared for what actually happens at one of these auditions and what the general protocol is, the vibe and what I can expect so that there are no curve balls that might shake me before hand.
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Author: MarlboroughMan
Date: 2012-12-03 21:10
I've had some experience taking pro auditions. Here are some observations, though keep in mind auditions vary from orchestra to orchestra.
1. It's generally not enough to know the 'excerpt.' Most orchestras will put the part in front of you and expect you to know it. Don't be surprised if you're asked to play something beyond the usual excerpt in a part.
2. Consider when and how you're going to warm up. Sometimes you'll be shown to a big warm up room with ten other players there, then moved to individual warm-up rooms, then the green room, then on stage. Most of us don't need to warm up three times. If you know how many stops there are going to be before you hit the stage, plan your warm-up strategy ahead of time.
3. If you're traveling for the audition--arriving in the city the night before, for instance--go to the audition site the night before, so you know how long a drive or walk to expect from your hotel. You'll sleep better for it and not risk getting lost on audition day.
4. No matter what happens, remain upbeat and courteous to everyone you meet or communicate with. Sometimes there are bad things that happen at auditions--even rather unfair things. If you maintain your composure and professionalism, even under those circumstances, someone very well may notice and it might help you down the road. And if nothing else, you'll be able to hold your head high at the end of the day.
5. ENJOY the audition. Sing, and be glad.
Good luck!
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: C.Elizabeth07
Date: 2012-12-03 21:16
Eric-Thanks! I have been studying the full parts for the repertoire but I'll be sure to go over everything even more thoroughly. I knew that before hand but definitely needed the reminder! Greatly appreciated!
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Author: davyd
Date: 2012-12-04 07:07
I'm supposing that one would be expected to use one's Bb, A, and C clarinets as required for the various pieces they want to hear. Can one expect any help with schlepping one's gear from room to room? The process sounds nerve-wracking enough without the fear of dropping something fragile and expensive.
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Author: reed and MP dude
Date: 2012-12-04 10:09
Sometimes you play behind a screen; a hidden screen. Often after the first day of auditions they may take a few players and have them play with the symphony. It could be just 2 players or maybe 5 or 6.
They most often tell you what pieces they want to hear. Even the exact measures, a few weeks before the actual audition. Every audition I've been to there is sort of sight reading. Sort of, means you should already know the pieces. They give you some time to look it over and often tell you what measures they want to hear. Thats the scary part for me. If there are several people auditioning you will hear the sight reading piece from others auditions. People talk! Bring some excerpt books. Often the sightreading piece will be in one of the books.
If you are offered to play another audition with the orchestra, find out ahead of time what the pieces are, hopefully a few weeks ahead of time.
A and Bb r13's new.
Bb r13 1963 backup
Vandoren 56
Ciaccia custom mouthpiece
1.07mm facing amazing mouthpiece
2 Kaspers as spares
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Author: Morrigan
Date: 2012-12-04 13:42
Some other players in the 'warm up' room will play fast and loud and whether they know it consciously or not, they're trying to intimidate you. Just remember that this will likely happen and try to ignore it. You're there for YOUR audition, ignore them.
Also, there will be people who know each other and if you don't know lots of people you'll feel left out. Again, just remember that you're there for YOU! These people will have a good old mother's meeting about the music and the players, and again, they're trying to intimidate you.
Someone said to remain polite and have a positive disposition. This is essential! A smile goes a LONG way.
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Author: Ed Palanker
Date: 2012-12-04 14:04
I've been on both sides of the audition committee so here's my take. First, it depends on what position and what orchestra you're auditioning for. Years ago, too many, I often took auditions in hotel rooms or rented recital halls in NY when almost every orchestra came to NY to audition. That changed some time ago. Now even the smallest orchestra's expect you to fly out and audition in their home town, usually in their concert hall. Back in those "good old days" we didn't get an audition list and there was never a screen to play behind. Now things are different.
Depending on the orchestra and their facilities you will probably either get a time to show up or receive a number when to audition once you show up. There could be 50 players or 200 players over several days depending on how many applied for the position and what their screening process was. Some orchestras screen by resumes and some require sending in a recording. Some give you your own warm up room and some have a large room for most of the players to warm up in together.
Unless it is a small orchestra where the conductor will hear the first round it's usually done this way, at least in Baltimore. Round one is behind a screen for a commitee of 7-9 players, all wind principles and some section players. They vote after hearing a number of players and decide on who will go to round two. We require a majority. At round two, the semi finals, we do the same thing but now with a much smaller number and some different excerpts from round one that were on the list. Depending on how many we invited to the audition this can be the end of the first day or the end of the second day. Those that make the final cut are usually invited back at a different time, unless it can be done at the same day to play for the commitee and the conductor, this time usually without a screen in "most cases". The last wind audition we did we used a screen this time too, and the committee and the conductor, who usually has a veto vote, invites the one or two winners to return and play in the orchestra at a time convenient to all. If it's a section job they may be asked to play with the principal at the end of the finals before being invited to play later with the orchestra. As I said, it could be different in different orchestra's. In a smaller orchestra you may be asked to play some chamber music with the other principles if it's a principal job. My main suggestion, be as prepared as possible, have confidence in yourself and try to relax and be polite. Remember, you choose one of the most difficult professions to get a job in America. Good luck. Feel free to ask me anything else at my e-mail address.
ESP eddiesclarinet.com
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Author: Robert Moody
Date: 2012-12-04 14:23
Just wanted to say thank you to Mr. Palanker for taking time to share.
And best of luck to you, Elizabeth. I hope you come back and let us know how it went. Maybe tell us what happened in your experience so it can be added to the list.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: Paula S
Date: 2012-12-04 18:59
Gosh Ed,
I so nearly went for the profession and did regret getting diverted
for a while.
Years later I think that this sounds like such a hard life.
Don't mistake the commitment to my current profession as a University Lecturer in a totally different subject. I love teaching and my students give me so much back. However hearing people perform when it is absolutely heartful and when they have worked so hard to master the challenges, can have me in floods of tears for all the right reasons. ;-)
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