In part 4, the final part of this series about undergraduate college percussion auditions, I am dedicating the entire article to sight reading, general audition guidelines, and practical information.
Sight Reading
The first issue to cover is sight reading. I felt this was an important enough to warrant its own discussion separate from the other articles.
There's nothing more embarrassing than playing a great audition only to show that you are unable to read basic rhythms on the snare drum in 4/4 or simple 2 mallet bell lines in a 1 octave range. Sight reading is a basic window into your true ability on all percussion instruments. If you have done little more than prepare a series of solos for you audition, your weakness may be exposed during the sight reading and it may be the tipping point between yourself and another applicant.
Preparation beforehand is truly everything. Reading should be a regular portion of your practicing and you should be working on sight reading everyday alongside your main audition. However, there are definitely a few other helpful things to think about regarding the audition itself.
When you are presented with the sight reading at your audition, take as much time as they give you to look over the piece before you play it. Don't feel obligated to rush in unless they ask you to. Make sure you immediately try and isolate the passages that may give you the most trouble. You'll only have a few seconds but looking at the right things during this time will help immensely.
For all sight reading, select a tempo where you can play comfortably. If the audition panel has selected a tempo for you, be sure and internalize it. If you fall off you'll want to be able to jump back on.
Here are a few more instrument specific things to think about. In future postings I hope to address more specific ways to practice sight reading on each instrument.
Snare Drum
Don't get caught unable to read rhythms. You may miss a flam here or there (try not to!) but rhythms are your absolute priority here. Don't skip rests. They are every bit as important as the notes. Also don't shorten any rolls. Before you begin playing be sure to have a solid grasp of the tempo you will play in your head. This goes a long way toward grounding your performance.
Mallets
Be sure and check the key before playing! Also make sure you are in the right octave before you begin. You may need to sight read on instruments other than the marimba so you should be comfortable reading on anything. Finally if you are allowed to choose your tempo, don't go too fast. Slow and accurate is better than fast and reckless. This particular portion of the sight reading is perhaps the most perilous. There are many potential mistakes that can be made if you are not careful. Frame it this way. If you have just played a large 4 mallet work on the marimba that you've spent 6 months practicing, it will not look good if you can't read several simple lines of music.
Timpani
You should be practicing tuning a whole variety of notes and intervals at home in preparation for this portion of the audition. Refer to my article on the timpani portion of the college audition and review the tuning section. The process of tuning should should be professional and consistent. You should then play at a comfortable tempo with a lot of leadership and assertion.
General Considerations
Here are several other things to think about during your audition and during the entire process. These suggestions may seem general on the surface but thinking deeply about all of them will greatly improve your entire audition and experience. I can't emphasize this enough!
Flexibility
You may be asked at the audition to play on instruments that you are unfamiliar with. When preparing its very important that you practice "practicing" on different instruments other than the ones you are most comfortable with. I have seen a lack of thoughtfulness is this area make or break many auditions so be careful. You must play you best no matter what the circumstances. Never say that "you only play on a certain instrument" to an audition panel.
The same thing goes for mallet selection. While it's completely acceptable to have mallets that you like and feel most comfortable using, be prepared to try a few different ones if asked.
Professionalism
The college audition is in many ways one giant " first impression." You will be meeting the panel for the first time and how they perceive you right or wrong will determine the outcome.
It's important to take a serious look at how you carry yourself. Do you present an aura of confidence without projecting arrogance? Are you gracious or do you appear apathetic? Believe it or not this important stuff to think about. Remember, you are asking to be a part of a community and a program for 4 years. You will be working with and interacting with the people you are playing for sometimes on as much as a daily basis. Your conduct over the next 4 years will reflect on them as well as the institution you are asking to be a part of. Simply put, the panel will not accept someone they are concerned about or do not like...no matter how great you play!
Attire
I'm not big on talking about this but just be yourself and don't look like a bum. Present yourself in a professional way. Ripped jeans and a t-shirt is not professional. Use common sense and you'll be fine.
Closing
The undergraduate college audition is the beginning of the next four years of your life. There is a lot to think about. Take it seriously and there are great rewards to be had. I truly hope this series of articles has been helpful. It is my hope to continue to expand on these articles over time. Please feel free to reach out to me with thoughts, requests, and suggestions. Good luck!
No comments:
Post a Comment