Planning for the college instrumental audition

College Majors Music Major
1

<p>I was recently asked to give a brief presentation on this topic for sophomores and juniors interested in becoming music majors and their parents. Here is what I plan to say. If anyone has any other ideas or contributions, please post them here.</p>

<p>[Introduction skipped here]</p>

<p>A 15 to 30 minute audition will be the single most important factor in gaining admission to a music school or conservatory. In some cases, it counts for 90% or more of the admission decision. Since most aspiring music majors wind up applying to several schools, it is very important to select a core set of pieces that will satisfy the audition requirements at all of them. The final choice of pieces will be largely the decision of your music teacher, but it is wise to have a discussion with that teacher about the schools involved and their audition requirements.</p>

<p>Some schools are very accomodating and will tell the applicant to prepare (for example) an etude, contrasting movements from a concerto and two orchestral excerpts of the student's choice. Others are more rigid and limit the selection to a relative handful of choices, with any substitutions requiring department approval several weeks before the audition. It takes careful planning a year or more ahead of time to come up with a set of pieces large enough to satisfy the audition requirements at each school, yet small enough to give the student enough practice time on each piece.</p>

<p>Research and communication are essential in this process. Nearly every major school of music and conservatory lists audition requirements on their website. If you think there is even a possibility that you will apply to a school, it is worth taking the time to check out their audition requirements online. </p>

<p>[Cue spreadsheet showing first cut at audition requirements]</p>

<p>We made a chart over the summer before junior year with the following column headings: Scales/Arpeggios, Etudes, Sonatas, Concertos, Solo Pieces, Orchestral Excerpts. Giving each potential school a row, we filled in as much information from the school websites as we could. At the bottom of each column, we listed the smallest set of pieces that we could find that would satisfy the requirements for all of them.</p>

<p>Starting with about fifteen schools, we soon discovered that there were several that had very specific, non-overlapping requirements. After contacting the teachers at those schools, we found that some were reasonably flexible in accepting substitutions and some were not. It became obvious that it would be very difficult to prepare simultaneous auditions for certain combinations of schools. [Point out examples on chart] We used that information to remove a couple of schools from consideration that had inflexible requirements and were lower in our order of preference for various other reasons. Once that was done, the list of audition pieces got down to a more reasonable size.</p>

<p>[Cue spreadsheet showing reduced set]</p>

<p>This information proved to be a valuable resource for my daughter and her teacher in selecting specific audition pieces. He refined our list with some inside knowledge about specific college teachers and the pieces they prefer to hear at auditions. In the end, we came up with one etude, one sonata, one concerto, one solo piece and three orchestral excerpts that satisfied all requirements for ten top schools. This was still a fairly large set, but it helped my daughter and her teacher plan lessons for more than a year.</p>

<p>Finally I would like to pass on one more tip. All of the schools list scales and arpeggios as a required audition element but not many will ask to hear them. That does not mean the student should shortchange those items to spend more time rehearsing audition pieces. Scales and arpeggios are the foundation of good technique and any deficiency in those areas will be noticed in the audition, even if they are not played individually.</p>

<p>[Ask for questions and thank audience]</p>

2

<p>[round of applause]</p>

<p>It looks good, and seems to be a well-thought-out plan that should benefit your listeners. I assume your son plays bass? My son plays brass, and we had some slight differences here and there. The differences may be due to instrument, or due to school. I'll run through his experience, just to give another example; not necessarily to contradict anything you're saying. My point is that there are so many variables!</p>

<p>I think you should really, really emphasize the fact that it's critical to understand what each school wants, and the students should not make assumptions. My S took lots of notes and copied and pasted a lot from their websites directly into a computer document. Not only is each school different, but each instrument within that school has different requirements, and those requirements vary for program. Performance majors, jazz, grad students -- all different. So don't assume that because your friend the trumpet player had a certain experience, that will hold up for you on clarinet, too. Some instruments at Juilliard - flute, for example -- require a pre-screening tape, and then have call-backs after the first audition. Whereas my S had a one-shot deal; no pre-screening, no call-backs.</p>

<p>Some schools, like CCM, had very specific requirements for what to prepare for horn. Juilliard, on the other hand, said one or two solos, a couple of etudes... very vague. CIM was vague, too. They said they just really wanted to hear what the student wanted to play. I think all the schools said scales, too, but S was never asked to play any. [However, at his piano placement audition, he WAS asked to play scales.] Some of the instruments are required to play from memory, some are not. When a pre-screening tape is required, the requirements may or may not be the same as the actual audition. </p>

<p>My S only applied to 4 schools -- all top schools (CCM, CIM, Curtis, and Juilliard - which is where he is now), which he knew was a risk, but it was one he was willing to take. So that alone gave him a more manageable program of study. (I can see that a wider base of schools might be a bit overwhelming, and merging requirements would be desirable.)</p>

<p>Some of the material was overlap, especially where etudes were left up to him. But some schools also had very specific lists of excerpts. He could have overlapped on the solos, but he purposely prepared 3 different solos for the 4 schools, so that he could chose what seemed appropriate at the moment; they were all things he'd already played previously. This is not the time to learn a new piece. </p>

<p>He had to bring a list of prepared pieces to all the schools (except CCM, which he did regionally on video). Each time, they allowed him to chose which solo he wanted to play. Like you said, his teacher was able to guide him as to what the schools might most want to hear. </p>

<p>At his Juilliard audition, they allowed him to start with whatever solo he wanted. When he was done, they asked him what he wanted to play next. He suggested a specific excerpt, and one of the judges said, "Well, I wanted to hear..." It was the hardest thing on his list. He pretended confidence, grinned, shrugged and said, OK, and then nailed it.</p>

<p>Another difference is playing with an accompanist. Some schools, it's optional (CCM; he chose to have one). Some schools it's required (Juilliard). And some schools it's not allowed except for maybe voice (Curtis.)</p>

<p>At Curtis the audition was one on one, in a small room, with just the teacher. At Juilliard and CIM, it was a panel of judges. At all the schools, to varying degrees, they talked to him about himself during the audition. At Juilliard, they actually had his application in front of them, and asked him about various teachers and such.</p>

<p>At CCM, it was him and his pianist in front of a video camera. He chose to do this rather than a live audition because he already had a lesson with the teacher, and was therefore a "known" already. He flew to Cincinnati for the academic scholarship competition, and didn't want to have to make two trips. But for the most part, live auditions are preferable. In many cases, they are required.</p>

<p>Be prepared to be stopped before you're through your solo. Don't take it personally; it may just mean they want to hear something different, or they've heard enough, or they're running out of time....</p>

<p>Scheduling auditions was a challenge for us. We had to chose audition dates at some schools early, before we knew the schedules for other schools. CIM was one we had to chose early. When we finally heard from Juilliard, they had him scheduled on the same day. That was the only day they offered. We made a frantic call to CIM to see if they could change the date. They had only one slot left on the other date, and graciously allowed him to take it. Moral is, it never hurts to ask!</p>

<p>Hope your speech goes well. Wish there'd been someone like you to guide me through! Nice that you can use your experience to benefit others starting down the same road.</p>

3

<p>binx,</p>

<p>thanks for all the great suggestions. My daughter plays bass and is now at Oberlin having also auditioned at Curtis, BU, Rice, NEC and Peabody. After the Oberlin acceptance in December, she withdrew applications at CIM, CMU and a couple of safeties. She eventually was accepted at Oberlin, NEC and Peabody.</p>

<p>We only had to deal with a tape for Rice, but I should talk about taped rounds and remote auditions as well. All her auditions were unaccompanied, but I should mention the various policies for others' sake. I guess we were lucky when it came to scheduling, the only tight spot was NEC one day after Curtis. I think someone else is talking about what a typical auditiion is like, so I will leave some of what you said for them to handle.</p>

4

<p>BassDad: Definitely talk about scheduling auditions carefully. For all except Juilliard (they assign your date and time within a given range of dates), S had to indicate audition date preferences at the time of application last fall. Although he tried to plan carefully, he forgot to check his orchestra, jazz band, and brass ensemble performance schedules, and ended up with a major problem. He had to reschedule 2 auditions, with both schools charging a rescheduling fee - $35 at one school and $50 at another. And, the earlier you submit the application, the more likely you are to receive your first choice of audition date.</p>

<p>Also along this line, they should make sure to read the fine print or call the school to find out how long they will be required to be available on the audition day before making airline reservations or other inflexible travel arrangements. Some schools require availability until 5 or 6 p.m., making it impossible to get to the airport in time for the last flight of the day. Other schools will advise that you'll be free to leave within an hour after the audition time. WOW, I wish I had known all this stuff just a few short months ago!</p>

5

<p>Bumping -- This thread deserves to stay up front!</p>

6

<p>BassDad: as usual great, well-thought out advice. I do think that concentrating on the audition prep a year and a half early might be a bit excessive.</p>

<p>We had some interesting perspectives at the parent's meetings during the audition visits. A couple of conservatories seemed to want to make the auditions as stressful as possible. They emphasized the selectivity, limited number of openings and the importance of the audition for admission and for financial aid. At one conservatory we heard a very different perspective. The Dean of Admission asked the musicians in the audience to imagine hearing someone they had never met play their same instrument. He then asked how long would it take to decide if they played at a higher or lower level than you? The response was about 1 minute -- or even less. He asked some additional questions. If the musician was stressed and had some difficulty, would you still be able to assess their ability? Would you be able to tell if a musician had spent a long time practicing audition pieces and played those selections at a level that was not consistent with their overall ability? Everyone agreed that a faculty member who had been doing this for years was not going to have much difficulty making these determinations.</p>

7

<p>Binx,</p>

<p>thanks for reminding me. I never posted the final version here based on the suggestions from you and mommab. The presentation was well received and generated about 15 minutes of questions and comments from the audience (mostly specifics about individual situations and not included below). Here it is:</p>

<p>Good evening everyone, I would like to say a few words about planning for college auditions.</p>

<p>A 15 to 30 minute audition will be the single most important factor in gaining admission to a music school or conservatory. In some cases, it counts for 90% or more of the admission decision. Since most aspiring music majors wind up applying to several schools, it is very important to select a core set of pieces that will satisfy the audition requirements at all of them. The final choice of pieces will be largely the decision of your son or daughter's music teacher, but it is wise to have an early discussion with that teacher about the schools involved and their audition requirements.</p>

<p>Some schools are very accomodating and will tell the applicant to prepare (for example) an etude, contrasting movements from a concerto and two orchestral excerpts of the student's choice. Others are more rigid and limit the selection to a relative handful of choices, with any substitutions requiring department approval several weeks before the audition. It takes careful planning a year or more ahead of time to come up with a set of pieces large enough to satisfy the audition requirements at each school, yet small enough to give the student enough practice time on each piece.</p>

<p>Research and communication are essential in this process. Nearly every major school of music and conservatory lists audition requirements on their website. If you think there is even a possibility that you will apply to a school, it is worth taking the time to check out their audition requirements online. </p>

<p>There are many variables involved and it is important to understand exactly what is wanted by the applicable department or departments of any given school. Sometimes a pre-screening tape is required and sometimes there are multiple rounds of auditions with callbacks. The audition material may be the same or different for earlier and later rounds. Piano accompaniment may be mandatory, optional or forbidden. If accompaniment is needed, the school may want you to use one of their accompanists or may expect you to provide your own. </p>

<p>Some schools only hold auditions on campus, while others give the applicant the choice of an audition on campus or at one of a number of remote sites. The on-campus audition may be required for those who live within a certain distance of the school. In most auditions at remote locations and even in some on-campus auditions, the proceedings may be videotaped for later viewing by the faculty. While it is certainly possible to gain admission from such an audition, a face-to-face meeting with the teachers involved is usually the better way to go. If an on-campus interview is impossible, some teachers have been known to meet students at mutually convenient locations away from campus. Professional musicians tend to travel a lot, so it is worth a call or email to see if this might be a possibility.</p>

<p>We made a chart over the summer before junior year with the following column headings: Scales/Arpeggios, Etudes, Sonatas, Concertos, Solo Pieces, Orchestral Excerpts. Giving each potential school a row, we filled in as much information from the school websites as we could. At the bottom of each column, we listed the smallest set of pieces that we could find that would satisfy the requirements for all of them.</p>

<p>[Cue spreadsheet showing first cut at audition requirements]</p>

<p>Starting with about fifteen schools, we soon discovered that there were several that had very specific, non-overlapping requirements. After contacting the teachers at those schools, we found that some were reasonably flexible in accepting substitutions and some were not. It became apparent that it would be very difficult to prepare simultaneous auditions for certain combinations of schools. We used that information to remove a couple of schools from consideration that had specific inflexible requirements and were lower in our order of preference for various other reasons. Once that was done, the list of audition pieces got down to a more reasonable size.</p>

<p>[Cue spreadsheet showing reduced set]</p>

<p>This information proved to be a valuable resource for my daughter and her teacher in selecting specific audition pieces. He refined our list with some inside knowledge about specific college teachers and the pieces they prefer to hear. In the end, we came up with one etude, one sonata, one concerto, one solo piece and three orchestral excerpts that satisfied all of her audition requirements for ten schools. This was still a fairly large set, but it helped my daughter and her teacher plan lessons for more than a year.</p>

<p>Once you have selected the schools and the audition pieces, the next hurdle is scheduling all of them. Some schools have elaborate online systems that let you schedule the audition yourself, some ask you to call for an appointment after a specified date, and some simply respond to your application with an appointed time and date. Most auditions are held on weekends from late January through early March, with specific dates often posted on school web sites. Conflicts are inevitable, so plan on keeping your calendar as free as possible during these periods and schedule the auditions as far in advance as possible so that you will have time to swap appointments as needed. Some schools require you to be present for a certain period before and after the audition time. This could involve information sessions, music theory placement tests, or an unscheduled extra round of auditions if the need arises. Be sure to find out all of the time requirements before scheduling two auditions in one day or making any travel plans.</p>

<p>Finally, I would like to pass on one more tip. All of the schools list scales and arpeggios as a required audition element but not many will ask to hear them. That does not mean the student should shortchange those items to spend more time rehearsing audition pieces. Scales and arpeggios are the foundation of good technique and any deficiency in those areas will be noticed in the audition, even if they are not played individually.</p>

<p>Thank you for listening. I will now be happy to take any questions that you may have.</p>

8

<p>I guess it's too late now, but no audition I took was longer than 10 minutes...</p>

9

<p>Interesting. For my daughter, BU may have been as short as 10 minutes now that I think of it. NEC and Peabody were twenty-ish and both Curtis and Oberlin went a full half hour, maybe even a little over. They can probably afford to take a little longer with basses because there are fewer of them to get through.</p>

10

<p>I think audition length varies quite a lot from school to school and from instrument to instrument. I heard that in Peabody the violin audition is very short (5-6 minutes?), but my piano audition is about 20 minutes. The person before me is much shorter... so it's really unpreditable. </p>

<p>One quite interesting thing I encoutered: In audition you get to choose the first piece, and in all the schools I auditioned (not that much...) I got to play through that piece without stop, while I was stopped in the middle of the rest of my pieces. So make sure you choose a good piece to start the audition, one that have a very good start to make a good first impression. I would imagine the "judges" will pay much more attention and give more importance to the first piece since they might assume it's one of your strongest piece. </p>

<p>(Everybody tells me that the schools will definitely hear the etude (for piano performance, no scales, etc. are required), but... Peabody seems to defy the rule...)</p>