Without a doubt, the best way to ensure a great audition and application experience for graduate school is adequate preparation. As I see it, there are two big ways to do this: organizational/application prep, and audition/mental prep. One thing I was I had done a little better would be organizing my materials and pre-screening requirements long before the applications were due (Dec. 1 in many cases). I recall checking one school’s website a few days before the deadline to find differing information on pre-screening requirements than the previous time I had looked. That being said, here are my suggestions for your best preparation:
Narrow down your schools (maybe 1 safety, 2 attainable, and 1-2 reach). Of course this is just a suggestion allowing the most open of options after the audition.
Lessons and emails with professors- contact early on, ask questions, ask for possible lesson and be understanding if they can’t do it.
List of requirements. What I suggest you do here is to get the app Evernote or some sort of file that you can have on paper and on a mobile device, this way it’s accessible in lessons and practice rooms, etc.
- Does the school have prescreening? If so, what are the requirements and what is the date? Get the exact materials and formats for uploading (sound file, pdf, video).
- Audition date(s)?
- How many letters of recommendation does the school request? Email your professors at least a month out for this.
- Do they need a resumé or a repertoire list? Save your programs! (Sample Rep List)
- Do they require essays? PDF format?
- Fees? Consider fees for sending transcripts as well.
- Do they require the GRE?
- Is there a separate Teaching Assistant application or a separate application for the graduate school and school of music?
- Drive or fly?
- Arrive at least a day before your audition to relax and get some good sleep.
- Money can be a big factor in where you apply as you will need to find a way to get there.
- Email your university professors a month ahead of time asking to be absent from class if need be. Send a reminder email a week out.
- Figure out a place to play your instrument before. (I played in my car outside of a hotel in Michigan… until someone told me they couldn’t sleep because of it)
Prepare material you can play well, even if it seems easy. Any panel would prefer to hear a solid performance where they can hear your musical voice rather than a battle for notes.
Understand that the panel wants you to succeed and have a great performance. Nobody is rooting for you to stumble, they want to hear you play well.
Practice the way you want to perform.
Have fun, what’s the point if playing music isn’t enjoyable and rewarding.
The next post will be discussing the audition and how not to psych yourself out! Stay tuned for more to come and some suggestions on reading for audition success.
Recently, I have finished auditioning for graduate schools pursuing a degree in music performance. After the exhausting process I reflected on what I did right, what I wish I knew, and how others could be more prepared and know what to expect.
The process of applying and auditioning for a Master’s program can be extensive, but with the right preparation the audition process can be a simplified and encouraging experience. The first of the four posts I will write on graduate auditions will focus on what you want to get out of a graduate degree, whether or not it is right for you, and where you should apply and focus your energy.
- Do you hope to land a job with an orchestra, a service band, as an educator, entrepreneur, etc.?
- If so, which degree will help you achieve these goals?
- Where should you apply and why?
Generally, a performance degree will prepare you for the world of orchestras, service bands, chamber groups, and equip you to be competitive in professional auditions. For this reason, I chose to apply for a Master’s in Music Performance in order to pursue a career in a service band, and also to continue my education in hopes of becoming a college professor.
When choosing which degree you want to pursue, ask yourself this: “What do I want to get out of these two years, rather than “What can this degree do for me?” You will have a much more proactive experience in your college career if you seek out and make your own opportunities rather than waiting for employment to come your way.
This requires careful consideration but most of all, requires that you learn about the main professor of study and if possible meet/take a lesson with that person. Always ask even if you may not get the answer you want. Things to consider when choosing where to apply:
- Who is the professor? What is their performance and teaching experience like? Is it similar to what you hope to attain?
- Do you see your relationship with your professor being professional and encouraging?
- What are the performance opportunities like in the city/town?
- How are the ensembles?
- Is there a Teaching Assistant or Fellowship position? Scholarships?
- What is the studio like? Size?
- Does the school specialize in orchestral music, band, performance, education, etc?
- Who is on faculty? Do they match up with your ideals for a career and music education?
- How are the facilities? Practice rooms?
- Finally… is this a place I’m gonna dig? There might be a school with great faculty, professor, facilities, but if you don’t see an enriching environment with students and faculty members sharing positive attitudes, take that into consideration. After all, this is a time of development and refining of skills and attitudes.
All of these questions are meant to aid in successful preparation for your audition and help make the graduate process much smoother. Check out part two which covers questions and considerations on musical, mental, and application preparation in the months prior to your audition!
During a recent lesson I had with one of my professors, we discussed the expectations that should be held for performance majors. One idea struck me as so simple but something I believe is often overlooked.
This little nugget of wisdom was as follows: the sound out of the horn should always be recording quality.
That is not to say that every note, rhythm or articulation will be spot on every time, but that the tone remains of utmost quality during practice or performance. This kind of dedication to great sound will often strengthen other weaknesses in playing.
What other expectations should be held for performance majors?
Always knew it would help me play better. ©2014doughertytuba
“There is no art without intention. You have to play with intent to commit something.” – Duke Ellington
Originality and passion in what you do is something I feel very strongly about. We have all been told to imitate before you create, but maintaining individuality and style is what makes music so diverse and interesting. The virtue of energy in your work is imperative; be passionate about your efforts, and you will have success.
What is the point of doing something if no passion exists in it? Be it a mundane task or something more lively, if the energy is not in the product or the work, the outcome will suffer. Let your work inspire and be inspired by others.
In short, creativity is multiplied with energy and passion. Pursue new outlets or styles, and always learn, for every experience has value.
How has creativity changed your work/product?
As the second installment in the Virtue Series, I will be focusing on the great teamwork I experienced at the Savvy Musician in Action Retreat, and how that collaboration helped me grow and lead our team to create an idea much larger than any individual ever could have developed. This virtue is one I cannot oversell; the ability to work as a member of a team and collaborate effectively is vital to career success.
As mentioned in the first Virtue post, Virtue Series, during the retreat, teams were challenged with building a functional and sustainable business model in 2 and a half days. In order to complete this task and yield a quality product, using each unique trait all six of us brought to the table was paramount. While I may be able to operate a blog, my tech skills are quite limited, while another member of the team was an IT specialist by day. With an established composer on the team, we had extensive knowledge of the market for our product, and the financial whit of a chamber ensemble leader.
Each member of the team offered a unique perspective to each problem and played a vital role in each solution. The virtue here is teamwork. Oftentimes the best solution can be reached by the most diverse group. To best summarize how effective collaboration can be done, I have included bulleted points, merely suggestions.
- Listen to everyone, respect what they say
- Include your thoughts, but be respectful
- When a fork in the road is met, do not be afraid to pivot
- All ideas are worthy of further thought
- Delegate and do your part
The more you put into life, the more you get out.
How else can musicians collaborate with eachother? Classical, Jazz, Rock, etc?
The LinkNewMusic Team at our presentation.
Recently, I had the fortune to attend David Cutler’s inaugural “Savvy Musician in Action” retreat where 57 musicians, entrepreneurs, and educators gathered to collaborate and learn about arts entrepreneurship. The knowledge and experience I gained are vast and will continue to influence my career.
This is the first post in a 5 part-series called Virtue Series, where I will detail the highlights of what I learned at the retreat: patience, teamwork/collaboration, originality & energy, inspiration & creativity, and networking & marketing. Each of these will be contextualized for the modern, aspiring musician. Look for each virtue to be published weekly, on Thursdays.
The core task arts entrepreneurs were faced with at the retreat was to develop a viable business model to fill a niche in the market. With only 2 days to develop, prototype, present and prove functionality of the business, teams were forced to operate rapidly. However, patience was absolutely imperative in finding the niche to be filled and how the business was to function effectively. The development of a poor idea due to impatience and hasty action is finite.
This virtue is true for all musicians, not just entrepreneurs. Patience and persistence in the practice room yields positive results. I have often witnessed that the jump in progress comes just after I nearly lose my patience. Next time you find yourself at your whit’s end, be patient and persist, a solution might be right around the corner.
What other benefits does patience have? How can you implement these in your career?
Prepare properly in a timely fashion, and nerves, uncertainty, and frustration can be avoided. The key to confidence, is preparation.
Embarking on an audition, jury, or performance can be very stressful, for the amateur and the elitist. The difference between those who progress and those who fall behind is the methodical practice done beforehand. The knowledge and skills gained from this type of work will yield confidence, leading to a successful performance.
Knowledgable practice and a healthy level of confidence will diminish fears, leaving you with the joy of musical satisfaction.
“Eventually we all have to accept full and total responsibility for our actions, everything we have done, and have not done. ”
― Hubert Selby Jr., Requiem for a Dream
More important than taking credit for successes, is taking responsibility for failures, and learning from them.
In music, it is one’s own responsibility to take the tools given, listen to the lessons/masterclasses/courses, and work hard in order to have success. The lessons may be taught, and the advice given, but it is the individual’s responsibility to implement this knowledge to better him/herself and those around them.
It is our responsibility as musicians to create, perform, and teach great music for those who are not as fortunate as us.
Gotta practice somewhere
Far too often, musicianship is compromised in an ensemble setting. Focus drags, motivation lacks, and our general ‘nit-picky’ attention to detail diminishes. While playing in a large ensemble like an wind symphony or orchestra may seem to mask some errors, it simply does not. Playing to the best of your abilities regardless of the level of the musicians around you can only yield positive outcomes.
If you notice your articulations are not as clear as they should be, don’t settle for “its good enough”. Do not let others around you dictate your playing: whether it’s a high school group you are asked to fill in for, or a big time band, take it seriously and expect your best at all times.
Also, do not wait for the conductor to point something out. Constantly assess your playing and others’ playing around you. Of course, nobody needs a ‘backseat maestro’ correcting others, just be the technique police for yourself. There is always something to make better.
If none of the aforementioned interests you, playing to your peak is also much more fun.
I am sorry to say that magic simply does not exist… in practice! Performers and teachers can have an ora, or a magical quality about them, but the way they obtained that is not magic. Some are accustomed to thinking that the Chicago Symphony has some powerhouse brass players, but what that magical affect actually is, is a singular unit playing with heart and soul, together. The end product is magic, but often times the process is not.
Many times while practicing I wonder “what is the secret to *any weak spots of my playing*?”. I sometimes assume that there is something that a God of tuba could tell me that would make it happen. Perhaps I’ll dig up an ancient box filled with golden mouthpieces, and the tuba of Arnold Jacobius, son of Tubagodius. This hasn’t happened yet.
How do you get good? The answer is hard work. You must practice efficiently, frequently and with purpose. Set goals, reach them, then set more.
Never forget why you began playing, though. Be the toddler who has no idea what a tuba is or who the Chicago Symphony is, but loves brass because its shiny. Just don’t poop your pants and cry.
We may not get a letter delivered by owls saying we are invited to attend Julliard, or say Wingardium Levoisa and have a soaring high range, but we can practice our skills, meet giants (maybe tuba players), and Stupefy those with our sound… and then we can have magic in music.
One Big Family