This document provides guidance for musicians preparing for auditions over a 6 week period. It emphasizes the importance of equal focus on practice preparation, mental preparation, and performance preparation, similar to training for a triathlon. Specific recommendations are provided for each week, starting with assembling materials and getting audition repertoire, then increasing practice intensity with things like index cards and mock auditions. The goal is to be thoroughly prepared physically and mentally to perform under any conditions by the time of the audition.
This document provides guidance for musicians preparing for auditions over a 6 week period. It emphasizes the importance of equal focus on practice preparation, mental preparation, and performance preparation, similar to training for a triathlon. Specific recommendations are provided for each week, starting with assembling materials and getting audition repertoire, then increasing practice intensity with things like index cards and mock auditions. The goal is to be thoroughly prepared physically and mentally to perform under any conditions by the time of the audition.
This document provides guidance for musicians preparing for auditions over a 6 week period. It emphasizes the importance of equal focus on practice preparation, mental preparation, and performance preparation, similar to training for a triathlon. Specific recommendations are provided for each week, starting with assembling materials and getting audition repertoire, then increasing practice intensity with things like index cards and mock auditions. The goal is to be thoroughly prepared physically and mentally to perform under any conditions by the time of the audition.
“Confidence
comes
from
discipline
and
training”
Robert
Kryosaki
(author
of
Rich
Dad,
Poor
Dad”
An
audition
is
like
a
triathlon.
You
need
equal
parts
of
all
three
1)Practice
preparation,
2)Mental
preparation,
3)
Performance
preparation.
Leaving
out
or
having
a
weakness
in
one
of
the
three
would
be
lie
competition
in
a
triathlon
and
not
being
a
strong
swimmer!
Or
never
riding
a
bike!
Get
ready.
WEEK
6:
Get
the
list.
Make
a
booklet
(make
2
sets
if
possible).
If
the
list
asks
for
the
entire
piece,
include
the
WHOLE
piece
in
the
booklet.
Make
an
i-‐pod
list.
Clear
your
schedule
best
that
you
can!
Develop
a
serious
warm-‐up
routine.
Assemble
your
necessary
equipment:
TUNER,
METRONOME,
RECORDING
DEVISE,
INDEX
CARDS,
MENTAL
TOUGHNESS
BOOKS.
Make
travel
arrangements.
You’re
ready
to
begin.
Play
thorough
the
ENTIRE
list.
Begin
to
assemble
you
“naughty
list”
of
excerpts.
Begin
each
session
with
a
useful
warm-‐up
and
your
“naughty
list”.
WEEK
5:
Use
your
index
cards.
One
excerpt
per
card
.
.
.shuffle
.
.
.draw.
.
.
PRACTICE!
I
divide
how
many
excerpts
on
the
lists
by
days
of
the
week,
to
get
through
all
in
week
5,
but
I
an
talking
about
REALLY
practicing.
.
.
nitty
gritty!
Begin
by
doing
a
“mock
“audition
for
you
recorder,
then
listen
back
three
times,
w/
three
different
markers
.
.
.1)
pitch,
2)
rhythm
(honestly,
if
these
two
aren’t
basically
perfect
you
won’t
get
to
the
second
round!),
3)
musicality
and
phrasing.
Mark
and
practice
until
perfect.
By
this
point
you
should
be
reading
every
day.
The
mental
game
is
just
as
important
an
element
in
the
audition!
Keep
a
notebook
handy
to
record
special
“quotes”
that
are
inspiring
or
meaningful
to
you.
This
is
an
important
step
often
skipped.
WEEK
4:
Research
the
place
and
people
you
will
be
playing
for.
Get
information
on
the
Hall,
the
players,
their
training
and
background,
what
is
coming
up
in
their
season,
or
what
they
just
played
(can
often
be
a
clue
to
any
sightreading
done
in
the
first
round.)
Do
you
think
Lance
Armstrong
ever
does
a
race
without
checking
out
the
route
first?
Set
up
at
least
3
formal
mock
auditions.
Try
for
three
contrasting
locations,
and
three
sets
off
players,
include
at
least
ONE
from
a
different
section
(not
a
flutist).
Also
include
one
from
out
of
your
area,
someone
who
inspires
or
intimidates
you
.
.
.
or
both.
Your
“naughty”
list
should
be
getting
shorter.
It’s
fun
when
you
get
to
take
one
off
the
list!
Find
time
this
week
to
research
half
the
pieces
on
your
list,
and
play
entirely
through
with
a
recording.
What
is
the
meaning
behind
the
Brahms
4
solo?
What
do
you
know
about
Beethoven
when
he
was
writing
Leonore?
What
was
the
style
of
playing
when
Bach
wrote
the
St.
Matthew
Passion?
Learn
to
really
UNDERSTAND
and
Love
what
you
are
playing.
How
does
each
excerpt
fit
into
the
piece
as
a
whole?
They
are
really
So
Much
more
than
just
excerpts!
Continue
your
“nitty
gritty”
practice.
Your
recorder,
metronome,
and
tuner
are
your
best
friends
WEEK
3:
Research
the
other
half
of
the
list
and
play
through
with
a
recording.
Reminder:
ALWAYS
begin
with
a
useful
warm-‐up
and
you
“naughty”
list.
At
this
point,
you
should
ne
getting
through
more
index
cards
in
a
day.
Enlist
a
friend
to
check
you
on
pitch
and
rhythm.
Have
them
watch
a
tuner
or
metronome
light
and
call
you
on
any
time
you
stray.
Remember,
these
two
things
must
be
near
PERFECT
to
get
out
of
the
Preliminaries!
Also,
use
this
week
to
make
anything
that
seems
challenging
to
you
even
HARDER.
Faun,
breathing.
Scherzo,
eliminate
one
breath.
Transpose!
This
is
the
week
you
MUST
play
(and
record)
a
formal
mock
audition.
Remember,
would
you
show
up
at
a
triathlon
without
ever
riding
a
bike?
WEEK
2:
Prepare
for
extremes
in
your
mock
auditions.
Play
in
extreme
COLD,
extreme
HEAT,
on
a
full
stomach,
empty
stomach
.
.
.
even
on
no
sleep!
Make
a
note
on
what
was
more
challenging,
and
train
yourself
to
focus
in
the
extreme
situations.
This
is
more
important
that
you
know,
as
many
a
player
has
been
rattled
by
“extreme”
circumstances
that
occur
at
the
actual
audition.
Go
the
extra
step,
be
ready
for
anything,
actually
prepare
for
anything,
and
you
will
be
extremely
confident.
Are
you
still
reading
and
writing
“quotes”?
Begin
reading
a
few
quotes
to
yourself
before
each
“mock”
and
before
going
to
bed.
Sounds
cheesy,
but
it
DOES
help!
This
is
the
week
for
you
out
of
town
mock
audition.
Try
to
create
the
actual
audition
circumstances
as
much
as
possible.
Stay
in
the
same
hotel
.
.
.
eat
same
meal
.
.
.
play
at
the
same
time
of
day
.
.
.
same
outfit,
shoes
.
.
.
(All
the
while
you’re
still
“nitty-‐gritty”
practicing
each
day.)
WEEK
1;
Have
a
home
“mock”
and
play
through
the
entire
list
for
you
for
recorder.
You
may
never
listen
back
too
all,
but
you
HAVE
to
do
this
once!
No
stops
.
.
.
no
distractions.
(This
took
over
an
hour
with
the
Detroit
list.)
Make
sure
to
do
“mocks”
around
the
same
time
of
day
you
might
play
and
plan
an
eating
strategy
that
you
get
used
to.
You
should
be
able
to
get
through
most
index
cards
in
1
or
2
sessions.
AUDITION
DAY!
“Must
haves”
list:
1)
Water
bottle,
2)i-‐pod,
3)
snacks,
4)
notebook
to
make
notes
after
each
round
you
play
.
.
.
(you
will
want
to
look
back
on
them),
5)
book.
Often
the
“waiting
game”
is
the
hardest
part,
so
be
ready.
Come
prepared.
You
may
get
stuck
for
long
periods
with
out
access
to
food
and
them
have
to
play.
Plan
ahead!
“Do
the
necessary
research
that
might
give
us
a
little
edge”
Rick
Pitino
“The
key
is
not
getting
people
to
work
hard,
it’s
getting
them
to
LIKE
working
hard”
R.
P.
Is
it
possible
for
a
person
w/no
money
to
still
make
a
fortune?
Why?
.
.
.
Get
off
your
duff
you
have
to
look
for
teachers.
If
you
want
to
be
a
mechanic,
go
hang
out
with
mechanics.
It’s
really
simple
but
it
takes
determination,
discipline,
and
desire.
Once
you’re
done
everything
to
prepare
yourself,
you
realize
YOU’RE
READY
FOR
THAT
BIG
MOMENT,
regardless
of
what
it
is!
Books:
Success
is
a
Choice/Rick
Pitino
The
Inner
Game
of
Tennis/W.
Timothy
Galley
Any
books
by
Lance
Armstrong
or
other
successful
athletes
(Pete
Sampress)