INTERNATIONAL TROMBONE ASSOCIATION JOURNAL

Orchestral Sectional
M EG U M I K A N DA & M AT T WA L L E Y | E D I TO R S

Strategies for
Successful Auditions
As a result of orchestras taking a necessary COVID-induced pause from holding
auditions, we are experiencing an unprecedented number of vacancies in orchestras.
While historically there have been times when the number of trombone openings is
small, now we see an abundance of auditions—a trend that seems likely to continue for
some time, but that won’t last forever!
A larger number of auditions gives us more chances to apply for jobs and get familiar
with the actual process of an audition.
For those new to taking orchestral auditions, the experience of traveling, waiting,
warming up, waiting, waiting some more, and performing has value that is impossible to
replicate. On the other hand, an increase in the volume of auditions taken won’t help us
if our preparation is less than first-rate … which leads us to the perpetual question: How
do we best prepare for an audition?
Who better to ask than those who have enjoyed recent audition success? We are
grateful to Adam Rainey (appointed bass trombone of the Detroit Symphony in June
2022), Jonathan Randazzo (appointed principal trombone of the St. Louis Symphony
Orchestra in November 2022), and Brian Wendel (appointed principal trombone of the
Cleveland Orchestra in August 2022) for taking the time to share with us their approach
to recent auditions and auditions in general.
Whether you are seeking where to begin with audition prep, looking for a fresh take
on how to approach auditions, or are somewhere in between, the wisdom offered by
these three wonderful players is extremely helpful for us all.
Congratulations and best wishes to Adam, Jonathan, and Brian, and thank you for
sharing your experiences and expertise with us!

16 www.trombone.net

Jonathan Randazzo
Principal trombone (beginning January 2023), St. Louis Symphony Orchestra
Assistant principal trombone, North Carolina Symphony Orchestra
Second/acting principal trombone, Santa Fe Opera Orchestra
My audition journey began nearly 13 years ago, when I was
lucky enough to win my first ever audition with the North
Carolina Symphony while an undergrad (I’m still not sure
how that happened!). It wasn’t until after starting my career
that I realized just how difficult auditions are. In the 15 or
so professional auditions I’ve taken since, I’ve experienced a
few near misses and many failures. But amidst those losses
were triumphs—with the Santa Fe Opera in 2017 and, more
recently, with the St. Louis Symphony.
Over the course of those auditions, I’ve learned a lot
about myself, my shortcomings, and my strengths. I have also
learned a lot from some fantastic colleagues. The following
advice stems from my experience and describes what has
worked for me. I hope this may help you on your own
journey. Like me, you will undoubtedly be met with failure
sometimes, but if you are serious about an orchestral career,
be tenacious. If I can find success, anyone can.
FUNDAMENTALS
No one ever won an audition on weak fundamentals. The
ability to demonstrate complete control and mastery of the
instrument—intonation, flexibility, range, articulations, slide
technique, and sound concept—has to be prioritized before
you even consider being competitive at an audition.
This is a speech I give to all my students, and any of them
reading this knows how much of a “broken record” I can be on
this topic: For me, sticking to a solid daily routine that covers
all the bases is critical to developing consistency. The Arban’s
Famous Method has been my go-to for almost two decades
now. Spending 30 minutes or so a day going through various
sections of the book and reinforcing good habits—like a clean
slur or legato tongue, a clean and rhythmic double-tongue, or
even just a simple diminuendo—has proved very beneficial
for my playing over the years.
ORCHESTRAL SECTIONAL
You can practice an excerpt or solo all you want, but if
you don’t have the consistency and technique to back it up, all
that practice will mostly be for naught. I recommend finding
exercises you enjoy playing that reinforce good habits and
cover all areas of brass playing. Do them religiously.
EXCERPTS
I’ve always hated excerpts—and still do! Unfortunately for
me, they are a necessary part of the audition process. Don’t
get me wrong, I love the music and love performing in an
orchestra, but playing a 20-measure lick from a symphony
by myself, under the gun, behind a screen, is not my idea of a
peak musical experience. It’s rather inhumane.
That being said, I find it more tolerable to practice
excerpts when I understand the music they are extracted
from. Of course, performing the work in an orchestra is the
simplest way to get a feel for an excerpt’s context, but if you
are unfamiliar with something, listen to recordings and play
along with them. Don’t just skip ahead and listen to the brass
excerpt. Listen to the whole piece. Develop a relationship with
the music. Acquire a deeper connection to it. The audition
panel will be able to tell if you know the music or if you are
just playing the notes on the page. Sitting on both sides of
the audition (I’ve served on several audition committees over
the years), I can tell you that panels want to hear personality
and musicianship as much as they want to hear consistency
and precision. That’s what will truly separate someone from
the pack.
When it comes to technical practice, recording myself is
of the utmost importance, especially since I no longer have a
teacher I regularly study with to help me practice efficiently
and effectively. I’ve had to become my own teacher and be
highly critical in all areas of my playing: sound, style, rhythm,
pitch, and consistency. I record an excerpt, listen back, and
International Trombone Association Journal 17
 note what is lacking. If you’re preparing for an audition on
your own, recording can help you avoid directionless practice
by helping you understand what you want to sound like and
what you’ll have to do to get there.
TIMELINE
Once I commit to an audition, I like to get organized. I book
my flight and hotel, print out all the excerpts, and make a
binder containing everything I need to prepare. This is
usually done a couple of months before the actual audition. I
am the type of person who needs organization and order. It
gives me peace of mind and allows me to concentrate more
effectively on my preparation.
During the first week, I’ll usually just touch base with
the excerpts and acclimate myself to them again (I honestly
don’t regularly practice excerpts). This includes listening to
the pieces and making mental notes of my tendencies and
areas I need to work on.
Thankfully, because of my upkeep with fundamentals,
the technical aspects of the excerpts aren’t usually too far off.
But younger players reading this should keep in mind that I
have been taking auditions for years and played excerpts for
a long time. If you are new to auditions, regularly practice
the excerpts.
After a week or so of reacclimating to the excerpts, it’s
time to iron out the details. To start, I practice under tempo
with a metronome so I can easily hear inconsistencies and
diagnose any issues. I find that this significantly improves my
“muscle memory” when the tempi are increased.
Once I have practiced all the materials at the accepted
or commonly performed speeds (usually about three weeks
before the audition), I’ll record myself playing each of the
experts and listen back. The questions I ask myself are, “How’s
the pitch?” “How’s the rhythm?” “Is the tempo consistent,
and are the dynamics/style coming through?” By analyzing
these basic elements, I can figure out my tendencies and
know what to focus on the next time I play through a given
excerpt. The process helps me cultivate my style and build
consistency.
At about two weeks out, I begin running small audition
lists. I pick a handful of excerpts and record them at different
points throughout my day. Hopefully, they are in reasonably
good shape when I listen back, but if not, I will make
notes and replay them with the necessary adjustments. I go
through this process multiple times a day to play through
the entire list. I find that working to maintain a high “batting
average” throughout the day makes me more consistent
than playing an excerpt ten times in a row. While extreme
repetition is beneficial for some, it tends to make me
18 www.trombone.net
fatigued and over-analytical. My philosophy at this point
is to stay relaxed and “sing” through the horn.
Lastly, if possible, I set up mock auditions with
colleagues, friends, and family. The more I perform in front
of others, especially musicians I greatly respect, the better I
get at it. It’s also helpful to have additional sets of ears who can
comment and give constructive feedback. Be careful, though,
as music can be very subjective. You may find your panel has
wildly conflicting opinions. At the end of the day, you have
to be you. Don’t try to sound like anyone but yourself. An
orchestra will hire you because they like your sound and your
style. Know that you won’t be able to please everyone on the
panel. You need to feel comfortable and confident in your
musicianship.
COMBATING NERVES
Performance anxiety has always felt like an uphill battle
for me, especially in auditions. I remember the first time
I performed in trombone class in front of my peers at NEC
as a freshman. I played a simple Bordogni (Rochut) étude,
and my heart rate rose so high that I could barely breathe
to make a phrase. I got dry mouth and tensed up. I was
fighting my body to play the instrument. These are exactly
the sensations I usually feel when entering an audition.
I’ve always believed that stage fright can be overcome
with what psychologists call “exposure therapy.” In other
words, the more you put yourself out there and perform in
front of others, the more comfortable you will get with it.
Simple enough, right? This has mainly been true for me;
however, even after a decade-plus of performing symphony
concerts, recitals, and chamber concerts, I still get plenty
nervous!
So why do I keep putting myself in these situations?
This is a question I have often asked myself and one that
is important to answer. What I’ve come to realize is that I
need a higher purpose for playing music beyond myself. If I
play solely to impress people or play “perfectly,” performing
becomes a very egocentric competition, which often leads to
disappointment and is ultimately not very fulfilling.
Instead, I’ve realized what a gift it is to be a musician and
tried to stay in that mindset. Music can’t be about playing
perfectly or winning a job. I’ve never felt that I’ve played
perfectly before, even at the auditions I’ve won. I’ve made
plenty of mistakes and will continue to do so! That’s partly
what motivates me to keep practicing. I am not thinking
about my technique when I am prepared enough to be “in
the moment.” I no longer feel nervous when I’m focused
on my connection to the music and expression. Not only is
it more musically captivating at this point, but I also make

fewer mistakes. This state of flow is where my performance
level thrives and is where I try to be when taking auditions
or any other high-pressure performance. Of course, this is
easier said than done, but that’s what practicing is for!
Another common topic of discussion I’d like to mention
is beta-blockers. While popular with many musicians, beta-
blockers weren’t even on my radar until last year. The St.
Louis Symphony audition was the first time I had ever tried
using them. I experimented with dosages during rehearsals
and concerts a few weeks before the audition. I found that
5mg was the perfect amount for me. Now, if you ask most
doctors, 5mg of Propranolol doesn’t do anything and is
more of a placebo effect. Maybe that’s true, but it seemed to
work well for me, even if it was just psychological. This isn’t
something I routinely take, but I find it very useful in high-
pressure situations. If you haven’t tried beta-blockers before
and, like me, struggle with performance anxiety, I would
recommend talking with your doctor.
ORCHESTRAL SECTIONAL
FINAL THOUGHTS
I, of course, would be remiss if I didn’t mention luck. Serving
on several audition panels, I’ve noticed the audition process
can be far from perfect, and sometimes politics, biases,
or even logistical problems interfere with a fair audition.
Auditions are unpredictable, but if you consistently practice
fundamentals and strategically prepare, you will set yourself
up for the best chance of success. An audition committee
is not looking for perfection; it is looking for the overall
package—someone who communicates through their music
and whose technique is solid and a good match for the
section.
My advice would be not to chase perfection but instead
chase a higher level of musicianship and find a deeper
meaning for what you do. If I can be fortunate enough to win
multiple auditions, so can you.
International Trombone Association Journal 19

Adam Rainey
Bass trombone, Detroit Symphony Orchestra
Bass trombone, Colorado Music Festival
THE ROAD TO DETROIT:
A BASS TROMBONE TALE
I’d like to start off by saying that if you haven’t read my article,
“Audition Success in Kansas City—All About that Bass,” or
Doug Rosenthal’s “A Tale of Two Auditions,” please do.
Both articles describe preparing for an audition as a student
without a full-time job.
This article will address some points from my previous
work, but I’ll now focus on my process as a working musician.
Besides having less time to practice, things change and evolve
as you age—and so should your audition preparation.
I spent eight years in the Kansas City Symphony and
took several auditions. Some of them went well, and some
were total “dumpster fires.” I feel like the leading component
of my failures was my outdated style of audition preparation.
Originally, I would spend three to four hours a day working
on basics, solos, excerpts, and intonation. That approach
works well for a college student but not for a professional in
a full-time orchestra. I was now being paid to sound great
on stage and could no longer waste my face on Bordogni
and Blazevich études before a performance of Bruckner’s 7th
Symphony. The realization that I needed to save my face for
the long haul of an orchestral season was huge! Things had
to change in order for me to win a new job where I would
be competing with well-practiced, younger players as my
competition.
When the job opening for the Detroit Symphony was
posted, I followed the correct procedure and applied. I was
given an audition date and time, and it was two months away.
Great, right? Wrong! If I practiced that music for two months
straight, I was going to get burned out, and the music would
become stale. Instead, I decided to hit the process hard at the
one-month mark. With this, I would be completely immersed
20 www.trombone.net
for a smaller amount of time and still have the burning desire
to win. I really wanted to win this … really, really badly.
PREPARATION
With the audition date looming, I needed a game plan.
First and foremost, I obtained the audition list and
determined if there were any pieces I hadn’t yet performed.
When I found the excerpt, I studied it and found multiple
recordings for reference. The excerpt for me was Richard
Strauss’s An Alpine Symphony, reh. 1–2 and 2 mm. before 80
to 5 mm. after 80. Yes, I had listened to this in the past but
never studied it for auditions.
As a musician, you must understand every piece of music
you are performing. This increases your comprehension of
the material so that you can convey the musical intent of the
composer. (If I had a nickel for each time someone played
excerpts for me in a lesson and they didn’t know the context
of the music … . Well, you get the idea.) It adds so much to
the performance!
BASICS
Now, we get to the breakdown of my audition preparation: A
key component to auditions is getting back in “audition shape.”
Auditions are like marathons. They require endurance.
In order to get my stamina back, I had to do a lot of playing.
Getting back to basics was essential. I decided to return to my
college favorite: Kopprasch (thanks, Douglas Yeo!). Selected
Kopprasch Studies for Trombone with F Attachment (ed. Richard
Fote) is a fantastic book to build technique and endurance in
the trigger range. If you spend at least 30 to 40 minutes on
them, you will see results. Another book that was helpful was
the Bordogni Melodious Études Book Three. Getting my butt
kicked in the tenor register was exactly what I needed in order
to be able to tackle high bass trombone excerpts (Wagner’s
Lohengrin, Kodály’s Háry János Suite, the Frank Symphony in
D Minor). The key to this book is to achieve more stamina
in the high range. I couldn’t tell you how many times I was
worried about an audition committee member asking me to
play Háry János for a second time in an audition! For a while,
I always thought I had only two high B’s a day. I decided to
never be in that position again, so I got in shape.
PLAY FOR PEOPLE!
It’s easy to become comfortable with your mistakes or to
become blind to your shortcomings—and we all have them.
I believe the best way to stay on top of your game is to open
yourself up to constructive criticism from respected peers or
mentors.
When preparing for an audition, you should always
play for others and ask for feedback. It could be a colleague,
a significant other, or a professional. Even better—play for
someone in a better position than you. Practicing by yourself
in a room for hours and not getting feedback is a waste of

time! Surround yourself with people whom you want to
become. My decision was to play for James Markey (Boston
Symphony) and Amanda Stewart (St. Louis Symphony).
For every major audition I have taken, I’ve played for my
former teacher, Mr. Markey. He is a pillar of bass trombone
pedagogy and understands the current audition circuit. After
every lesson, I have felt myself improving. Even if it’s just
by 1 percent, it’s still a gain. His understanding of phrasing,
orchestral repertoire, musical ideas, and auditions is truly
awe-inspiring.
Whenever I take a lesson, I always record it (after asking
permission, of course). Each of those recorded lessons is
worth its weight in gold. Listening to a lesson a day later
brings your problems into focus. Then, with the problems
in focus, I can tackle them immediately and not waste
time. And, as I said earlier, I needed to be efficient. I ended
up taking two lessons with Mr. Markey. One was a month
before, and the other about 2.5 weeks prior to, the audition.
The goal should be to correct the issues from the first lesson
and arrive at the second lesson with a more polished product.
As Norman Bolter once said to me, “The art of the student is
immediate application.”
ORCHESTRAL SECTIONAL
However, there is one rule I always follow: Do not play
for anyone during the last two weeks before your audition.
If you are still asking for feedback right before, you are not
ready. By that point, you should know how the music goes
and how you are going to perform it.
The second person I played for was Amanda Stewart.
She is an outstanding player, and I’ve always respected her
playing. It was a no-brainer! Getting feedback from a tenor
trombonist was an eye-opening experience. Amanda helped
me with certain excerpts’ pacing (was I crescendoing too
much; maybe I was rushing the rhythm on Lohengrin; or my
high range wasn’t where it should be). It was a lot of little,
important details about which I had never thought. Everyone
has different ideas about playing and musicality and, for that,
I am grateful for Amanda’s help!
Now, for the fun part....
MY STYLE OF PRACTICING
Winning an audition while you already have a job is extremely
difficult. On top of all the practicing required for an audition,
you need to show up to rehearsals and concerts playing at
a certain level. Heck—you’re getting paid to show up, to be
fully prepared, and sound great. On
paper, it might sound easy to do, but
for me, it is always a balancing act: How
much should I practice basics before my
face starts to swell? How much time do
I devote to Lohengrin before I drive over
to perform a John Williams show? I’m
no longer the young college kid who
can practice all day long. I needed to be
more efficient with my time.
Each day, I would warm up for work
and try to sneak in an excerpt between
the long tones. It doesn’t have to be
anything crazy. When you get done with
lip slurs, practice starting Schumann’s
Third Symphony and see how it goes. I
would recommend picking an excerpt
that gives you trouble. Working on a
difficult excerpt daily can make it much
more comfortable in the long run as it
becomes part of your routine.
After going to work, I would come
home and start the main bulk of my
practice: a small amount of basics and
a large amount of excerpts with my
recording device. Most people who
come to me for lessons do not work on
basics as much as they should. A huge
pitfall for players is to only work on solos
or excerpts. If you can’t play an Arban
étude with clean articulation or good
International Trombone Association Journal 21
 rhythm, then you cannot play Hungarian March with clean
articulation or good rhythm. I do around 30 to 40 minutes of
scales, études, and high and low studies. During this process,
I always pay attention to what is happening. DO NOT TURN
ON AUTOPILOT! Making sure all your “ducks are in a row”
is the name of the game (rhythm, pitch, style, etc.).
After basics, I take a little break and prioritize the
excerpts that need work. This is where the recorder comes
into play. Since I am striving for efficiency, I require
immediate feedback each time I play an excerpt. One day,
for example, I decided to work on Richard Strauss’s Till
Eulenspiegel. I put the recorder 8 or 10 feet in front of me
and made sure the recording levels were properly set. Then
I pressed the “record” button, walked back to my seat and
played the excerpt. Once I was done, I stopped the recording
and listened to the playback. I nitpicked the recording,
became my own teacher, criticized the pitch, and clapped
along to double-check rhythms. After repeating this set for
a few minutes, I slowly noticed improvement. Will it ever be
perfect? No. Nothing is ever perfect, but we can surely try.
This style of practicing is difficult—and (to be honest)
depressing. However, it is thorough and can make one hour of
practicing better than four hours without a recorder. Resting
every so often is a requirement while doing this. Sometimes,
I would play for ten minutes at a time and find something to
distract myself for five minutes. For me, I decided to watch
an old show I loved as a kid: “Thomas the Tank Engine and
Friends.” (All right, hear me out: I needed something to turn
off my brain. I needed to get back to a time when I had no
responsibilities, no major auditions, and no worries.)
Practicing for auditions is stressful, especially if it’s a job
you absolutely want. Yes, it’s a little embarrassing to admit
that a 32-year-old man is rewatching “Thomas the Tank
Engine.” Did watching a kid’s show help me relax and not let
stress eat me alive? Yes, absolutely.
If you are stressed out, find something that will take your
mind off things. When I showed up to the Detroit audition,
I arrived at my room, and all I could hear were the other
candidates going through excerpts and solos. It’s dangerous
to follow their act, because you could waste your face before
you get out on stage. I decided to warm up with my practice
mute, play some excerpts on a tuned piano for pitch, and turn
on some … “Thomas the Tank Engine.” I’d rather watch Toby
pull a few coaches through some mountain valleys instead
of running excerpts and getting anxious. Sometimes, getting
your mind off things is the perfect solution.
Trust in yourself, and trust in the process that got you to
this point. This article isn’t the “gospel” for winning auditions;
it’s just a different perspective on how to achieve it. Use this
information as you will, and go forth to achieve your goals!

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22 www.trombone.net

Brian Wendel
Principal trombone, The Cleveland Orchestra
AUDITION INSIGHTS
Auditions! Exciting, motivating, potentially frightening,
stressful. Throughout my time preparing for, and attending,
professional orchestra auditions, I can reflect and honestly
say that I enjoy the process. Working toward the prize has
always added motivation, focus, and determination to my
practice room. Equally in step with those emotions is a
stressful fear of failure. However, having gone through this
process for some years now, I often find comfort in returning
to the audition process, because I enjoy chasing my dreams
and implementing a structure that helps me improve my
playing in all sorts of ways.
For me, auditions are a serious business. My
recommendation to others is to attend auditions with the
intention to win (as opposed to going for experience). While
that might appear a surface-level bit of advice, to me, the
intention to win sets my mind into action, and my subsequent
thoughts are, What will the winner of this audition do that the
other candidates will not? What will convince the committee to
emphatically support the winning candidate? And, with those
thoughts in mind, I jump into gear and commit to giving
this performance everything I have. The audition process
requires so much focus, attention to detail, perseverance
and, throughout it all, a sincere passion for music. Tackling
an audition (especially your first) can be overwhelming, so
hopefully this breakdown of my process will prove insightful.
If you’re just starting out on your audition journey,
be prepared to set aside some quality time to record a
compelling tape audition. “Quality time” to me might look
like a recording session over several different days. Find a
beautiful sounding space, find the ideal microphone setup,
and give yourself as much time as you can to prepare the
music. Because it is a recording, you will want to give yourself
multiple opportunities to perform for the recording device
ORCHESTRAL SECTIONAL
so you can select your best results. This is different from a
live round, where the committee may be more forgiving of
small blips and mistakes. Your recorded audition has to bring
everything to the table: musicality, intonation, solid rhythm,
and accuracy.
So, moving forward, here is my audition strategy.
ESTABLISH A TIMELINE
Once I’m invited, I establish a timeline. The timeline gives me
structure as I lead up to the important day. Depending on the
size of the list or how well I know the requested music, I aim
to practice for six to eight weeks if I can. Create a calendar
that works backward from the audition and post it on the
front of your excerpt binder—this has been such a useful
tool for me. With the audition day established, I make my
travel plans and aim to be performance-ready by two weeks
in advance of the audition. Those final two weeks are largely
devoted to mock auditions. With that in mind, I now have six
weeks to prepare each excerpt for performance.
A suggestion: If you have the luxury to only focus on
this audition and are not already performing and rehearsing
constantly, a loose framework for a practice schedule is to
work on audition repertoire for six days in the week and
use the seventh day to practice simple technique, études,
and other music. It will help prevent you from feeling
burned out and uninspired by the audition repertoire. That
would be ideal. But for anyone who already has significant
playing demands, try to cut out all unrequired performance
obligations.
THE LIST
Back to the list. I have a look over all the music and
determine which music is very familiar, somewhat familiar,
and completely new. Then, I compile a good playlist of
International Trombone Association Journal 23
 recordings. I find performances that inspire me, and I
also prioritize listening to new recordings of the music I
already know and love. By switching things up, it keeps
my ears active, and naturally, as a result, I absorb new
approaches.
When I enter the practice room, I want to learn the notes
for this new repertoire with the style, tempi, and inflections
already in mind. This time period, when the music is
completely fresh, is special! Consider that you only get one
chance to learn a piece of music from scratch, so take your
time to implement good habits. Learn it slowly and cleanly.
Determine what statement you want to make! Immediately
try to understand the role this excerpt plays in the orchestra
and the reason a committee has asked for it. If you have
an understanding of what a committee might care about,
it will help you shape the excerpt. Hopefully, you are able
to get a firm grasp on this new set of excerpts in about
two weeks.
As time goes on, I gradually feed in the more familiar
music. The closer I get to the audition, the more repertoire I
cover. In my daily practice, I try to select a variety of styles of
excerpts. This protects me both from overdoing one kind of
playing (only playing loud, all day, for instance), and it will
also keep the excerpts fresh.
I take the complete list at the beginning of each day
and set an agenda. Up until the mock audition process, I
will probably cycle through the whole list every two weeks.
If, at any point, you feel overwhelmed by the amount of
music being asked of you, remember to take your time and
thoroughly practice one piece until you are satisfied. When
you have put in solid work on it, move on. Don’t feel like
you have to bounce through all of your music in two days.
I would prefer to have one thorough and thoughtful session
on a piece instead of three frantic and unproductive sessions.
Throughout the audition process, it is so important
that I maintain my technique! I prioritize proper time each
day to warm up and work on fundamentals. I know that my
excerpts will only feel difficult and frustrating if I neglect
technique. Plus, I want to avoid ingraining bad habits and
frustration into my psyche. Throughout all of this, a reminder
I personally need is to have grace with myself. I look for little
moments to play something outside of the audition repertoire
that inspires me and pulls me out of the intense, microscopic
analysis of my playing. If I ever feel afraid of an excerpt, I
tackle it head on. Your mind is the ultimate “hero” or “villain”
in auditions, and your insecurities will only increase under
pressure. Decide to tackle the difficulty, and do everything in
your power to turn the weakness into a strength.
24 www.trombone.net
MOCK AUDITIONS
Once it is time for mock auditions (again, this is two weeks
ahead of the audition day), make a plan for your mock
process. I try to do a mix of complete-list auditions and mini-
list auditions. I might run the complete lists three times over
the week and intersperse those days with a mini-audition
of five excerpts. For the complete-list auditions, I structure
the excerpts in a typical fashion that would be found in an
audition. If you don’t know, ask someone who does know
what that might look like. A third type of mock audition I
will run is the beginning of each excerpt, playing maybe three
or four bars. This helps me feel confident that my excerpts are
dialed in and musical from the very first note. Sometimes, I
will perform a mock audition for my recording device, and
other times, I will perform for someone else whose “ears” I
trust. This process will give you a comfortable time frame
to build endurance and make any necessary adjustments. In
summary: Find ways to simulate performance nerves and
pressure, and discover ways to navigate them effectively.
While mock auditions are really important for training
the physical element of my playing, they are equally helpful
in addressing performance anxiety. I need to put myself there
before game time to minimize any surprises and be flexible to
sudden changes. I am also a big proponent of the Musicians
Hypnosis app (only available on Apple products, I believe). As
different as this might sound, this guided, positive meditation
will implement reassuring and confidence-building thoughts.
This app has a thorough list of categories that people struggle
with. I did it every day for a few months, and now, the ideas
are ingrained, and I firmly believe it made a huge difference.
I also spend time speaking to my physical and mental senses,
like having a calm heart rate and dry hands—and, more
importantly, feeling immense joy while sharing the music I
worked so hard to prepare. I want to feel collected, focused,
and remember to breathe. I also visualize things like feeling
excitement as I walk on stage and also seeing myself from
the audience, performing in a meaningful and captivating
way. Many of these thoughts and practices stem from the
Hypnosis app—I owe credit where it is due!
I have learned that nerves are a wonderful thing!
If I weren’t nervous before a performance, I might not
comprehend that the event is special; and also, my adrenaline
wouldn’t be able to help me achieve greater feats than on a
typical day. Nerves are to be embraced as excitement. I focus
on my breath as much as possible and make the decision
to enjoy the moment! Share music as a gift, and accept that
anything can happen, good or bad. A performance is a
temporary experience, and it never lasts for long.
As I approach the final week before the audition, I vary
my practice time. I avoid blowing out my chops the day
before, so I feel fresh on the day of. I practice hard, light,
hard, light for the week leading up to it. The majority of the
work has been finished, and this is a week to build confidence
and get in the mindset of nailing it.
The night before my audition, I try my best to get a good
rest, even if that might be difficult. I have my meals at least
vaguely planned so nothing is surprising. Depending on
the time of the audition, I stay in my hotel room as long as
possible. I never go too early just to hang out. I watch tons
of TV in the hotel. My excitement has been building for
months, and I’m ready. TV takes my mind away from the
task. Very important for me is to bring headphones and “do
my own thing.” I try not to worry about what anyone else is
doing, practicing, and aim to trust my routines and warm up
as I always do.
I treat this day as if it’s completely the same as all the
others. I take some intentional moments to again picture myself
entering the stage, speaking a few words with the proctor,
envisioning the screen or scenario, taking relaxed, slow breaths,
and starting my first notes with joy! This is where performing
the beginnings of excerpts proves to be useful for me.
Ultimately, the results of this audition are completely
beyond me. I try not to observe any comments about politics.
It’s time to go and be me. The only thing I know I can control
is the amount of work I put in beforehand. Now, just enjoy! I
deserve to have fun!
Lastly, my personal audition journey is unique to me.
Your audition journey will be unique to you. Try to harness
the temptation to compare your timeline or successes to
other players. The best you can do is commit as much effort
and focus to this process as possible.
Auditions are mentally and physically taxing. If you are
serious about stepping into the “playing field,” commit to
persevering through the challenges, and try to maintain a
clear mind. Give it your best, and at the end of the process,
assess the results. Some days will be better, and some worse,
but the process will refine you, and your progress will increase
in small increments! Lastly: The committee is searching for
someone. There is no reason why that “someone” can’t be
you today!

International Trombone Association Journal 25

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