Notes from the other side of the audition screen - Part Two

In Part One of this post, I wrote about a few observations I'd made while listening to this spring's Detroit Symphony Orchestra timpani/percussion audition which applied specifically to musicians playing those instruments. Here, I'll cover a few additional thoughts on auditions which can be applied more broadly. As with Part One, it's worth noting that these are my opinions and that another committee or individual may feel differently. 1. The committee wants you to play well. The majority of candidates don't advance in early rounds. When you walk out on stage, the only sounds are muffled whispers and paper shuffling. The only human interaction you have during your round might be a "thank you

Notes from the other side of the audition screen - Part One

As many of you are probably aware, the Detroit Symphony Orchestra held an audition for the position of Assistant Principal Timpanist/Section Percussion this past spring. Having had the opportunity to listen to auditions for several instruments, I thought I'd share some observations from the committee's side of the screen. Some of these may not be immediately apparent to those performing, but over the course of listening to several hours of auditions, certain patterns and trends, both good and bad, start to stand out. Some of these observations align closely with how I approached auditions as a candidate, while others were significantly more important than I'd expected prior to experiencing

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