Audition Tips and Frequently Asked Questions (FAQ)
We know that auditioning for any kind of group can be a challenging experience, especially for younger players who have not gone through the process before. Here at CYOSC we aim to make our auditions an experience that helps young musicians improve themselves rather than contribute much unnecessary stress.
While there is an end product to your audition (whether you earn a place in one of our ensembles or not), we really feel like the process of getting there is actually more important to you. How you go about dealing with the challenges, and whether you learn something from it is our priority.
When you come in to play, there will be a committee of people including the Music Director, Assistant Director, and some of the staff. They are all on your side, and all of them want you to play well! Give us your best shot, and don't hold anything back. We are not (and never will be) sitting there hoping that you mess up. It doesn't make our job any easier!
After your audition, regardless of the result, you will get some feedback from the audition committee regarding what you played and how you can improve things in the future. We encourage you to share this information with your private instructor.
Audition Tips
1. Apply to the group appropriate for your ability level.
While we appreciate that you want to have a challenge in your youth orchestra experience, you, your parents, and your teacher need to be realistic about your ability level. The excerpts for each group reflect the technical demands of each ensemble. Can you execute (and distinguish between) a sautille or spiccato bow stroke? Can you play all of the three octave arpeggios (minor, major, diminished, augmented, etc.) in all twelve starting pitches, and shift reliably into the high positions?
Don't apply for a group if you don't meet the required minimum skills; you will only waste your time, and be disappointed in the results.
2. Be prepared with all your materials.
Before you arrive on your audition day, don't leave anything to chance. Make sure you've read all of your information here and/or emailed our staff so you have all your questions answered before the audition day.
Make sure you have practiced everything including your scales, solo, and excerpts until you are satisfied that your presentation of them best represents your current ability level. Most students always tell us that any kind of panic about auditions comes not from having to do it, but from not really being ready for it.
Bring extra strings, rosin, reeds, valve oil, anything that your instrument requires so that you can ward off any last-minute emergencies. We are always glad to help out if we can in these situations, but you will be much less stressed if you can just deal with these issues yourself.
3. It is okay to be nervous.
You are feeling nervous about your audition because you care! Rather than try to fight the feeling, practice performing while feeling this way so that you can get used to it and be able to play under pressure.
Take your materials and at least a week before the audition play them frequently for your family, friends, and other supportive people to get feedback. If you have a microphone or camera of any kind, record your own playing so you can listen and critique yourself.
4. Dress comfortably, but in a professional manner.
In our experience students either overdo it (we've had someone play in a prom dress and 3-inch heels) or under-do it (ripped jeans, dirty t-shirt, sandals). You need to wear something that is both comfortable, clean, and does not draw attention away from your music-making.
5. Arrive early (enough) to your audition.
Musicians have a way of saying: early is on time, on time is late, and late is...well, let's hope we never get to that point! You will need time to get your instrument out, warm up, and get settled before playing. Give yourself that time so that you don't panic. On the flip side, don't come so early that you end up sitting around for ninety minutes.
6. Don't (really) pester your teacher to work on your audition music.
The time that you spend with your private instructor is extremely valuable. They are teaching you the skills that you need to be a complete musician, both technically and musically. While one or two questions regarding some tricky passages (fingerings, bowings) may be acceptable, it is not cool to monopolize an entire lesson just to try to get them to teach you how to play an excerpt so you can make it into an orchestra. You're going to need to have more self-motivation than that if you are accepted to our orchestras, and we encourage you to do as much of the work as possible on your own.
7. Take positive action regarding your audition results.
Your audition is an opportunity for you to demonstrate that you are proficient in a variety of skills that will allow you to enjoy playing in an ensemble, and learn more advanced skills as a result. If you don't make it into the orchestra at this audition, it doesn't mean that you are a bad musician, bad person, or anything of the sort. The feedback you get from the committee will outline the skills that you need to work on and develop further so that playing the orchestra is a rewarding experience for you. You can take that information back to your teacher and use it to structure your practice goals. If you do make it, come ready to learn!
Frequently Asked Questions
Q: What is the purpose of sight-reading on the audition?
A: While it is true that only studio and wedding/event gig musicians need to
be able to sight-read nearly perfectly on a daily basis, the ability of a student to
sight-read is about saving time. Players who can accurately read rhythms and
notes quickly help to improve the efficiency of rehearsals, and it is for
that reason that our audition process asks students to sight-read a short
passage for their instrument. It is not a hugely significant portion of the
audition, and no one should feel as if not being able to sight-read well is
a barrier to successful acceptance into a CYOSC ensemble. The point of our
program is to train these skills!
Q: What is truly important on the audition?
A: While all of the parts of the audition are important, the excerpts
are probably the most critical. As a constant factor for all applicants,
excerpts give the audition committee a chance to see if you have the ability
to correctly identify and play all of the elements of music including the
rhythms, notes, articulation, dynamics, tempo, etc. given a limited amount
of practice time. Note: It is extremely important to count all rests in
the music unless you've been told that you can skip them.
Q: What am I being judged on during my audition?
A: *Rhythm*, notes, pitch, articulation (for string players, this means
that you know how to use the right bow strokes in the right places), dynamics, tone quality...things
that can be evaluated objectively for accuracy and effectiveness of
execution.
Q: What am I *not* being judged on during my audition?
A: We don't care how you hold your instrument or bow, who made your instrument,
who you study with, what school you attend, what orchestras you've played in before, or what you
look like. Within the realm of commonly-accepted ideas of interpretation,
you're free to do what you want musically. Obviously, if you play a work of
Mozart like that of Bartok, the committee might have some issues
with that...when in doubt, ask your private teacher, school director, family and
friends for feedback.
Q: I am a thirteen-year old violinist. Can I play in the Chamber
Symphony?
A: Yes. For example, if you can come playing at a high level the
required excerpts, the second Wieniawski Concerto, and/or a movement of the
Bach G Minor Solo Sonata, we're sure you'll have no problem making it into
the group and having a good experience over the year.
Links to Audition and Playing Resources
There is a wealth of information out there regarding auditions and orchestral playing in general, and we encourage you to do some research to help you on your journey:
Douglas Yeo's High School Audition FAQ
Connie Sunday's
Orchestra Etiquette and Protocol Page