Whether you’re a parent searching for a student flute, upgrading to a new flute, pursuing high education, looking for a backup flute or just want to make a nice lamp, how do you really find a quality instrument? Look at the bottom of the post for curved flutes for young flutists!


GoogleSlides link


Curved Flutes

Start at 1:18 for Curved Flutes

In the video, Gina shows off both the wave flute and the curved flute as well as provides specific models from the Flute Center of NY for young flute families to look into.

Small flutists will want to play an instrument that allows them to:

  • Keep their arms closer to their body – prevent injury, tension and promote good posture
  • Support the weight of the flute (again easier to balance when closer to the body)

Like a regular flute it is ILL-ADVISED to shop on Amazon for any flute. Even if you are purchasing one for a young child, you risk loosing money if the instrument is damaged and needs repair. Whereas rented or purchased (new or preowned) flutes from a reputable seller will have warranties and Amazon’s variety of flutes is a much lower quality – and repair technicians can not work with the vast majority of them because of this fault (meaning you would have to buy another flute from Amazon OR buy from a reputable vendor).

Here are some vendors that carry curved flutes:


How did you find your current flute?

In this post we’ll be looking at exercises that can be used for the individual flute student – particularly useful during remote/hybrid instruction. The levels of student have been split into 3 sub sections; since this is directed towards students enrolled in traditional band programs there is a standard of Western musical literacy that is expected:

  • Beginning: Minimal musical literacy and/or minimal or developing flute sound production and technique.
  • Intermediate: Basic musical literacy (limited range, clefs, note names, etc) and/or developing flute tone, musicianship, and technique.
  • Advanced: Established musical literacy (full range, all basic music reading, articulations, dynamics, etc.) and/or developing flute tone, vibrato, musicianship, technique, etc.

These are just generalized levels – not necessary for students in a specific grade level; supplementing materials for material to be more age appropriate such as having a beginning high school student may be necessary…


Beginning

  • Drone – Matching just ONE pitch. Whether that be a B (Bb) A or G.

There are apps (ie. Tonal energy), physical drone/tuners (ie. KORG), or downloads that keep it interesting.. that students can use to match pitch.

Provide directed questions to optimize student achievement: Is that note higher or lower than the drone? [Reset] Play your note in 3 different spots in your room/house, which would sounded the best?

  • Listening/Rhythm – Depending on the level of musical literacy of the student there may be more set up on your end for them to be successful.

Either create or find rhythm cells [isolated patterns] for whichever level the student is at; one example is this Talking Rhythm: Counting 101. If the student is developing musical literacy you could provide them with a sample of the rhythm to read alongside the recording.

If the student is young or struggling to grasp certain patterns; varying instruction such as providing words for rhythms/telling stories with a set of familiar rhythms; or making a game out of rhythm call and response could successful.

  • Air/Breathing – Air direction is just as important as breathing well, especially for beginners.

A very “Suzuki Flute” concept is spitting rice this is invaluable because it achieves many skills: routine, tongue position, air direction, and air volume/force. Likewise it requires less explaining and more letting the student figure out how to do, definitely worth looking into for long term success.

A simple game you could have beginning flute student’s do is have them figure out “how old they are in flute years”. This can be done on the head joint or on any one pitch; basically, the student will time (either count or have someone count for them) how long they can hold a pitch and see if they can match/exceed their current age.


Intermediate

  • Drone – Depending on the student you could have them match anywhere from a Perfect 5th or a full octave (you could also break this up into several weeks on the first tetrachord and second tetrachord).

You can use the same directed questions from the Beginner drone warmup. You could also ask which notes against the drone sounded better/worse; if any of the intervals reminded them of songs they know. Try to engage them in active listening, extending to connecting music they know to the music they play.

  • Listening – Building student’s ear training you can provide them short excerpts (2-4 measures) to learn by ear.

There are books (ie. Funky Flute series) that include CDs that has a limited range that would be suitable for chunking, combined with range and simple rhythms for beginning-intermediate students. [Optionally, you could record a short excerpt on a keyboard for all instrument groups to work on by ear].

  • Rhythm/Musical Literacy – Both without and with the flute – it’s important for the students to be able to reproduce the rhythms/read away from the instrument so they can have an easier time transferring knowledge that is most likely very foreign to them.

Building upon common rhythm patterns; adding in rests would be the next step. Again recording rhythm cells/using words to represent rhythms/movements to go along with rhythms students can engage with music in a multiple ways.

  • Air/Breathing – Reviewing and maintaining solid breathing is the foundation to air support and developing a good tone.

You can continue to build on the beginning flute warmups such as the “How Old Are You In Flute Years?”. While also encouraging a more refined, focused tone. Listening should be incorporated in tone production – by presenting the students with a clear model to emulate they are less likely to get that airy/wide sound.

For fast passages – or passages that require a lot of articulation – your first spot to check may be the fingers. HOWEVER having the students turn their head joint upside down (still in playing position) so that the student’s air gets caught in the lip plate and creates a snake/hissing sound; when students are having issues with their air they can actually HEAR the difference between achieving or not achieving the hissing sound.


Advanced

  • Drone – Expanding the intermediate warmup, you can have the students practice scales or pieces with a drone of the tonic.

The important thing is active engagement/listening. Having the students close their eyes – taking away one of their senses to focus on listening – can be useful early on as a way to get student feedback. The students can play a scale against the drone and have them only move to the next note after getting the one before it in tune with the drone.

Advanced students can also work on vibrato width against a drone. John Wion‘s website is fantastic because it has examples of famous flute player’s vibrato in notable works at tempo as well as slowed down.

  • Listening – Some advanced students will continue to struggle with ear training so keeping them on the chunked excerpts from intermediate warmups is not doing a disservice to them.

However, for students with a more keen ear you can provide extensions for them with either longer excerpts – even better if it’s a piece they have interest in learning on their own. You can have them compile a list of performers/recordings to reference and work on learning the piece by ear.

  • Rhythm/Musical Literacy – Again, it is still important to build this skill with and without the flute.

More advanced students can develop their literacy in music theory. Reviewing the Circle of Fifths and looking at chords and their functions.

The rhythm cells can still be useful for advanced students for reviewing learned rhythms as well as learning more complex ones as well as polyrhythms.

  • Air/Breathing – Reviewing and maintaining solid breathing is the foundation to air support and developing a good tone.

You can continue that fast and/or articulated passage practice strategy with the flipped head joint.

Also, at this point the students will be developing their independence in self assessment/student direction so standard flute tone exercises such as the famous Marcel Moyse long tone exercise from De La Sonorite can be used routinely.


What type of warmups have you been utilizing with your flute students? Do you use any of these? Anything I missed? Let me know in the comments!

In August I did a post which covered the flutes I had played before getting to university; now I will covering ALL the piccolos I have owned and played from high school (which was when I started playing flute) through graduate school.

One important note before I get into the reflection is that it is very common in my area that university students upgrade to a professional piccolo – a piccolo made of higher quality materials (resin/wood/metal); even in my undergrad (as a Music Education major) I felt this pressure to upgrade. And then as a Master of Flute Performance student there is DEFINITELY a push to upgrade, however, I am here to share why this isn’t a must have. Don’t feel pressured to do something that isn’t financially viable or you (yourself) feel is necessary.


High School

It is important to know that I started playing flute as a sophomore in high school for marching band. The flute section comprised of 2 seniors, 2 sophomores, and 2 freshman. Because the seniors were graduating I started my piccolo training only 3 months after learning flute (this is as a 15 year old).

  • Emerson – Nickel Silver Plated

PROS:

  • Durable for outdoor playing, I used mine exclusively for marching band every year.
  • Metal LH 1st finger rest to help with the size difference from flute (like a hand crutch).
  • Reliable – I kept this instrument through my undergrad for any outdoor playing – the mechanism held up well.

CONS:

  • The shrillness that comes with metal piccolos – less suited for indoor/concert playing.

  • Jupiter Nickel Silver Plated Head; Plastic Body*

*Before the PROS/CONS I just need to disclose I went through FOUR (yes, 4!!!) of these in a month so here’s what happened: The September of the following school year – my first school year exclusively on marching piccolo – I took a trip to a SamAsh because it was “the” musical instrument distributor in my area. The night I took home my first one I was practicing and then went to remove the head joint… and off came the barrel (aka the part that attaches the body to the head). We went back the next day and got a replacement… and I tried it in store (cautious) and it happened again. I’m not here to say anything bad about SamAsh or Jupiter, but this was VERY frustrating 8 years ago (now it’s actually comedic). I don’t know why we kept on going back to this one model of piccolo, and for context this all took place in the month of September by October I had found the piccolo I still have today. On the 3rd and 4th piccolos, there were issues with the mechanism going out of alignment. Anyway so:

PROS:

  • Decent price (just speaking on my own experience I can’t say much more than that)

CONS:

  • FRAGILE – better suited for indoor/concert rather than outdoor/marching
  • Quality assurance – in my own experience from 2013

  • Gemeinhardt 4SP; Plastic Head and Body

WINNER, WINNER. This is the piccolo I still own today, of course I have played professional piccolos, but in my own experience this piccolo plays well enough that I can not justify the price gap from this to a higher quality one.

And also considering that when you upgrade to a professional instrument you also have to pay for professional REPAIRS!!!! That is the biggest reason I keep this piccolo, it saves literally hundreds of dollars to play on this piccolo (especially considering piccolos go out of alignment much easier than flutes).

PROS:

  • Durable; can manage both indoor and outdoor playing
  • The plastic helps reduce the shrillness in the tone, more suitable for playing indoors than metal student piccolos
  • Stable tuning/intonation – 8 years on the piccolo – and even after playing professional piccolos I find that I can navigate tuning on this instrument with no issues.

CONS:

  • Not available anymore – the current comparable model would be the 4P

Bonus: Piccolos I Played In College

  • Haynes – Grenadilla Wood

This was a school instrument that I shared and borrowed within my studio, mainly because there was a stigma on student piccolos versus professional.

PROS:

  • The wood made the tone significantly less shrill.

CONS:

  • Durability – for all wooden instruments, being mindful of the temperature and not cracking the wood.
  • Scale, tuning – this particular piccolo just didn’t feel right under my fingers for the few years I played it; and intonation was always a struggle between registers.

Basically designed to be a “small flute” – has RH pinky keys, extending the lower register of the piccolo.

I don’t have any PROS/CONS for this still I tried it at a convention, but it was mind-blowing and I am still mildly interested in owning one for the novelty of a piccolo actually being designed to be a “small flute”.


What piccolos have you played? Thoughts on student versus professional models? Let me know your thoughts in the comments!

HAPPY NEW YEAR! I thought I would start off with the first post of 2021 being an instrument comparison since this [in a non-pandemic world] is the time region band meets again, at least in NJ. I have found that non-flutists rarely think of the flute and piccolo as different instruments. Of course, the other woodwind instruments have doubles (ie bassoon v. contra, all the saxophones, Bb clarinet v. bass v. alto…why are there so many clarinets). However, I have found in my own experiences that the doubling from flute to piccolo is expected to be this easily transferable skill when for many it is not.

Have some sympathy for your brand new piccolo players, and let’s get into what you need to know to help them transition easier from flute to piccolo:


What’s the same? What’s different?

At a glance, the piccolo may just be a “small flute” in fact some scores DO list the piccolo as such; one example being Grainger’s Shepard’s Hey (not exactly sure on the edition, but when I was handed the part I had a good laugh). This “small flute” label is misleading because the way you get a sound on the piccolo is VERY different than flute, and rather than giving piccolo to your first or second chair you should assess who may be best suited to play piccolo.

YES the fingerings are generally the same. However it is important to note that some flute fingerings DO NOT work (intonation wise, coordination wise) on the piccolo.


Good flute players are NOT always good piccolo players, this applies to both in high school and college. Just because a student is responsible and organized does not mean this is always a good fit for them!


The embouchure is a vital difference between the flute and piccolo. Of course, this needs to be generalized because embouchures vary greatly (even on flute alone) because of the differences of people’s mouth cavities, lips, and physical capabilities/limitations. For this generalization I will be referring to Nancy Toff’s “The Flute Book”:

Nancy Toff “The Flute Book” p. 94-95

YES the body needs to be relaxed, with minimal obstructions that will impact the air stream.

YES both the flute and piccolo should rest on the chin (that space right underneath the bottom lip) rather than ON the bottom lip itself. (Offset embouchures are okay on both instruments, if your primary instrument isn’t flute DON’T meddle too much with this let their flute instructor handle it).

Here’s where the similarities end. The lip formation/apperture as Toff discusses varies just on flute ALONE, add piccolo into the mix and things get confusing (especially for non flutists):

The flute has 3 general registers, each where the lip formation adjusts slightly to accommodate. One GREAT exercise that is rarely used for flute players in public schools is harmonics. While your brass players are doing their fundamentals let the flute players join in. Why? Because discovering the ratio of the top/bottom lips, apperture size, hole coverage is all highlighted when the students can only change the pitch that way (not changing their fingers at all).

The low register (B3/C4-B4): This is the most relaxed, the jaw is slightly lower (more space in the mouth cavity), the bottom lip needs to be wide (touching the lip plate) rather than turned up, to maximize tone quality.

The middle register (C5-B5): A more neutral set up, typically the upper lip is just slightly in front of the lower lip (think of the air hitting the lower lip and going down into the flute), the corners of the lips are still turned down; the space in the mouth is slightly less than before this can be achieved by a neutral jaw or widening the tongue.

The high register (C6-beyond): Rarely would you tell a student to pinch, or squeeze the sound; however things are getting smaller for this top register. The space between the top and bottom lips is the smallest – the lips are still able to let the air pass through, the cheeks are still relaxed, and the corners of the lips are still turned down; the space in the mouth is less which can be done by lifting/widening the tongue which also requires speeding up the air (like blowing out a candle rather than filling up a balloon).

The piccolo is a transposing instrument, it reads the same as flute, but sounds an octave higher. One MAJOR MISCONCEPTION that beginning piccolo players make is taking the embouchure from the middle and high registers on flute and applying it to piccolo. NO NO NO!

Beware, just because the sounding pitch is in that range as flute does not mean the embouchure stays the same. This is precisely why flute to piccolo is this ‘hidden challenge’ in comparison to the other woodwinds because with something actually inside the mouth – reed, mouth piece – the main challenge is size. However switching from flute to piccolo requires a completely NEW embouchure!

Generally, the most common mistakes new piccolo players make is squeezing or forming a too tight embouchure because they are trying to match the mid/higher embouchure from the flute. It is actually the OPPOSITE, maintaining a loose embouchure where the lips can still vibrate, and the cheeks are relaxed is ideal.

Obviously the piccolo is smaller and requires different air than the wider, longer bore of the flute. Also the materials are completely different (especially at the more advanced level).

While flutes are made of metals, piccolos are made of plastic/resin, wood, a combination of these. Piccolo players have to adjust to all of these factors. To summarize:

  • Piccolo size is much shorter and thinner than the flute.
  • Piccolo material varies much more than flute.
  • Piccolo range – transposes up an octave.
  • Piccolo embouchure – despite it’s range the lips and apperture are NOT the same as flute. Stay relaxed, loose on piccolo.
  • Intonation on certain fingerings from flute do NOT work on piccolo.

I have compiled some resources that can be useful for these students transitioning on flute to piccolo:


What are your tips on switching from flute to piccolo? What do you want band directors know before starting new piccolo students? Share you thoughts below!

This article will be speculative of what’s to come and reflective on the past year including the transition from in person to remote/hybrid lessons, classes, ensembles, and other music making activities.

This has been written with US perspective, in the NY/NJ area where the handling of the current global pandemic may differ from what some readers may have experienced thus far.


Lessons and Classes

Early March 2020 shutdowns ceased the majority of in person music lessons in the US flowing into a period of transition as teachers and their students had to work to figure out unfamiliar terrain such as audio/video recording equipment, video call platforms, internet stability, etc. Most experienced the growing pains of this strange time, and as a result there was a lot of flexibility in the first several months of the pandemic as everyone was navigating new territory.

However, university students had this much more cut and dry. If you were enrolled into a university, lessons are typically mandatory for students, and so they know what to expect. Outside of this formality were students in independently owned music schools, independent studios both locally-based and ones run online.

At their core these groups were impacted similarly to university lessons with the exception of the independent online studios that ran prior to the pandemic. Of course, there were some waves for this latter group with the influx of demand for remote lessons.

Most teachers can agree that teaching students, especially brand new or transfer students, remotely is one major hurdle. The shift from being in the same room as the student: being able to full assess what they are doing (as well as picking up on nonverbal cues), having a sense of control when it comes to distractions/environment, being able to make real time adjustments, and significantly less anxiety (most notably related to technology, especially poor internet connection). To then having to rely on the student having enough support at home to get set up; that the student has a relatively quiet and distraction/anxiety-free place they can work; getting the student’s attention for a significant portion of the lesson while also keeping up student morale; and on top of that being able to see and hear the student well enough to be of any help.

For university students who are self-sufficient or intrinsically motivated this is a less daunting task, but with extrinsically motivated or young or less mature students this being exponentially more challenging.

I’ve seen some teachers do outside or drive-by lessons with young or new students; maintaining social distancing, and sometimes separation by a screen/glass shield. This, of course, was easier during the warmer months, and now with flu-season and generally colder weather this is a less viable option.

Some teachers have tried using online creator’s videos to supplement information for still young, but more motivated students.

The overall take away is that the transition from in person to remote (or hybrid) lessons is really about release of control. As the teacher you have no control over the technology or internet stability of your students, you don’t have control of the distractions in their space, and you can’t get their attention as easily as you would be able to if you were in the room with them. Each student will have a varying level of control over their own situation – depending on their age and level of sufficiency. And on both sides there needs to be some empathy, when a large portion of the world isn’t able to experience live music the priority of lessons shouldn’t be music making it should be about the human connection. The music can follow.


Ensembles

Similar to lessons, music ensembles also ceased in early to mid-March. In my own experience, I did not have another ensemble experience until the Fall semester, there was so much chaos that they got pushed to the back burner and this really messed with my mental wellbeing – as someone who relies on that connection with other people to create music.

For some musicians – such as string players – opportunities to play live were much more available than they were for wind players. For obvious reasons, string players are able to wear masks and still play. Of course, I did see a few ensembles with wind players outside, distanced to play together, but these were mostly brass only ensembles (as woodwinds are significantly more fragile/sensitive to the outdoors). My own university used a parking garage to record both the choirs, band, and strings in this past Fall 2020 semester x.

Many people turned to online platforms to replicate the same type of ensembles and/or music that they would otherwise. Commonly (even pre-pandemic) you might see people on social media doing covers of pieces they like using apps like Acapella or just a video editing software and putting all the videos together to make a one-person (or sometimes several people) into a remote ensemble. Or they may use DAWs like Soundtrap, BandLab, or GarageBand to record trap to edit together.

I really have no idea when people will feel safe enough to assemble inside for ensembles. And this poses challenges for public school music ensembles in which the students heavily rely on the rehearsal time in order to prepare their own part and learn about the music as they are still developing the skills to be able to read and interpret music, and have enough maturity to be accountable to do so. For my own track as an educator I would strongly recommend making the music making experience less rigid/formal; set aside the standard of excellence and superiority. I’ve seen some schools forgo any type of concert schedule this year, instead focusing on technique and fundamentals.

I disagree with this decision because I feel that the students (who typically already dislike technique work) are going to EXTRA not like it when they have nothing to counteract it. Think about the students (there’s always a handful) who act out in there other classes, but then come to music class – whether that’s guitar club, music technology or just regular old band – and they get to just escape for however long that block period is. Instead, in this hypothetical situation, this type of student is being giving this gritty, mentally taxing work and we have no context for how their life has shifted since the start of the pandemic: what’s going on at home, is there stress and anxiety? Do they have siblings that are competing for technology, attention, etc? Are they giving care to younger siblings or even older family members? Of course we have standards and objectives that need to be followed for these ensembles, however, the material does not need to so rigid.

I would argue that the most important to skill during this time are the students ears. Perhaps you ask them to cover a song they like – they could do it on their instrument (for the class), an instrument they have at home, or with a DAW/MIDI software and you give guidelines for this type of ‘project’ that align with the standards and objectives you need to meet, but the students have so much more flexibility and will be honing the same skill while feeling like their choice matters.

It becomes very stressful – that same release of control – if we expect 9 and 10 year olds to teach themselves (even with the aid of adults at home) unfamiliar instruments. Teach them the skills they need – the two ears they have will be the best tool they need going forward for whatever musical path life takes them – and don’t worry that ‘they won’t be prepared for next year’ because no one will be. Patience. Flexibility. Prioritize.

Other Remarks

I can not emphasize this enough for the university folk who have been primarily classically trained… that is not the only path. Obviously.

Embrace the unknown, that this time as an informal professional development. What do you students listen to? Video game music? Rap? Movie soundtracks? Pop/J-Pop/K-Pop? Etc? Use this time now to immerse yourself in unfamiliar sounds and learn from them. Ask them to observe and actively listen; especially now with the unlimited access we have to music online you this to your advantage.

Take this time to learn about your students’ musical experiences outside the classroom. Do they make music at home? Do they have people in their house that play music? Community building is also essential – especially in public schools, cultivating and maintaining support for the arts is more important now than ever we need our art form to remain relevant for future generations to continue onwards.


How has the transition from in person to online impacted you this year?

Any additional ideas for lessons, classes, ensembles, etc going forward? Let me know in the comments!

My first collegiate ensemble was in no conceivable way the best showing of my talents…

That summer I had been studying with an alumni of the flute studio I was joining. Unbeknownst to the both of us, the audition requirements had changed since her time out of school (which had only been 3 years at that time)…

The audition list for the semester called for Beethoven Leonore No. 3 overture, Hindemith Symphonic Metamorphosis, Brahms Symphony 4, Bizet Carmen Entr’acte, and the exposition to the Mozart Concerto in G.

The audition packet just included the PDFs of the excerpts, and no clear directions… at the time I decided to give the list directly to my teacher and work through it with her. During her time at the school, students could choose which excerpts to prepare – specific ones were not required (can you guess where things went horribly wrong?). I prepared Beethoven, Brahms, Bizet and Mozart.

When the day of the audition came, to my shock and dismay, I learned that the process had changed and that I was expected to play Hindemith’s Symphonic Metamorphosis…. which I did… poorly. And don’t even get me started on the sight-reading (I’ve repressed the memory). Here’s what I’ve learned since that scarring day…


I am going to separate this article into two sections: one for incoming college students and one for seasoned veterans looking to just do better in auditions. After looking at both demographics, I’ll give some suggestions for sending out virtual recordings since covid-19 has already began to change how auditions are being held. Let’s get started with the incoming students:

Tips for Incoming Students

  1. COMMUNICATE with the faculty and current students.
    • Ask for clarification – unsure about articulation? Markings? Tempos?
    • Learn more about auditions – how does the scoring work? Is there sight reading? How many rounds are there? Is there separate Fall and Spring semester auditions?
    • Nail down exactly what you need to prepare – and DOUBLE CHECK.
  2. Find recordings – be selective!
    • Just because it’s available on YouTube doesn’t automatically make it good or bad. Be an active listener and compare recordings. If you are completely unsure, you can always ask someone which one they prefer and use that as a starting point!
  3. Be aware of the audition day protocol.
    • Is it a blind audition? Should you dress up?
    • Who will be on the panel? (Area teachers? Ensemble directors? Mixed?)
    • Should the excerpts be memorized? Will there be sight reading?
    • Sign up for time slots? How early should you be prepared to go in?
  4. 2020 Video Auditions???
    • Determine if there will be a moderator and how the panel will be judging.
    • Dress up.
    • Don’t leave recording the audition to the last minute – you may not get a good take that reflects for playing.
    • Don’t worry about getting all excerpts in one take.
    • Be honest with yourself and listen back – if the judges can hit replay so can you.
  5. Record yourself.
    • Listen multiple times each for different qualities (rhythm, intonation, expression).
    • Be active, and write down or mark any mistakes.
    • Positive mindset, you can start to spiral if you get to critical – there are ways to correct yourself that aren’t negative. For example, instead of staying DON’T RUSH, you can say maintain a steady pulse or slow down. Both these alternatives are giving purposeful action and directing you to change.
  6. At the end of the day… a bad audition does not reflect your playing. Have a plan for the day following your audition. Treat yourself for all the work you put into preparing!

Tips for Returning Students

  1. DON’T WAIT UNTIL THE LAST MINUTE. The more you progress in your program you may start to shift towards a more comfortable bubble where auditions feel less stressful – that’s great – but that doesn’t mean that you will achieve your personal best if you skimp on preparing in advance.
    • As soon as the list is out, the LEAST you can do is compile a list of recordings to start sifting through. Listen to them and begin to separate quality recordings to study and listen to more intensely.
  2. Record yourself! The first day you get the audition list, record the excerpts (it will be nice when the audition is close to see how much progress you’ve really made).
    • And keep recording yourself throughout the preparation process. You don’t need to record every practice session, but you will benefit greatly by listening to yourself and breaking down the same criteria as the judges.
  3. Know what to listen for… Rhythm is FIRST. Intonation and tone is second. And musicality/expression is last.
  4. Find scores whether you buy them or find them on IMSLP or elsewhere.
    • woodwindexcerpts.com was a LIFE-SAVER during my undergraduate ensemble auditions!
    • Knowing the context of what your role is and what the rest of the ensemble is doing is ESSENTIAL to properly preparing.
  5. Practice slowly – you don’t need to have the goal tempo down a week after the audition repertoire is posted. Moderate-tempo, clean technique is better than fast, muddy technique.
    • Take half the tempo on the first read and see how comfortable it feels. Gradually bump it up until you reach a tempo range that it becomes challenging. Don’t be a champion, stay objective to see the best results!
  6. Have a consistent warm up and mental preparation for the audition day. You want to be focused and centered so that you can project that energy in the audition room.
    • There’s no ‘right’ warm up or preparation, figure out what will make you feel the most confident. And don’t forget to treat yourself after the audition.
  7. Prepare for sight reading… you don’t have to jump in blindly.
    • Know what the judges are looking for, most often, they are listening for: rhythm, pitch/tone, intonation, style/articulation, and musicality/dynamics/phrasing.
    • Practice sight reading – use other instrument’s (ie violin or oboe) repertoire and focus on the elements they judges will be listening for.
      • Rhythm: If they notes happen at the wrong time, they pitches have no chance at being correct. Get comfortable with as many rhythm variations as possible.
        • Once surefire way to do this is by practicing “rhythm-cells” which is just taking a single rhythm and repeating it over an over until you are comfortable.
        • Also, practice different meters – practice in duple, triplet, quadruple! Practice simple and compound meters! Even practice odd meters!!
      • Pitch/tone: Practice. Your. Scales. (and arpeggios and 7th chords) You won’t know what key or pattern the sight reading will be in, but if you are proficient in all your scales then you will be able to put more energy into rhythm, dynamics, etc rather than working about getting all the right fingers down in a key signature that has 5 flats.
      • Intonation: Know your tendencies. This should be an ongoing process, be aware what pitches tend sharp or flat and figure out how you should be adjusting (the answer is not always to pull out the head joint).

Tips for Recording

If you were a music student during the beginning of the pandemic, you may have already began to troubleshoot issues that arose last Spring. Issues like peaking audio, recording equipment, placement, framing, etc.

If you have a virtual audition coming up, FIRST figure out what type of audition you will be taking. Will it be asynchronous or will you actually be in a video conference? If it is asynchronous will the audition be blind (aka will there be a moderator to keep the auditions anonymous) or will the panel be watching the videos?

  1. Take a lesson with your primary teacher. And/or do a mock audition with your peers. This is a MUST, first it will provide you with an objective perspective – both with your actual playing as well as how well your playing translates through technology.
  2. Figure out if there are any technology issues in the case of blind auditions mainly audio issues. If your current equipment isn’t cutting it… your laptop or phone is just not getting good results. RESEARCH affordable and quality options. (As of writing this, the Zoom or Snowball microphones are the most accessible – the Zoom one can be plugged into a phone and the Snowball connects to a laptop with a USB).
  3. Experiment, how does moving the camera/microphone effect the sound quality? Move around the room and figure out where you get the best results.
  4. If the audition is going to be a conference or the panel will see you – practice getting comfortable in the space you will be recording/streaming.
    • Make sure the part of you the camera can see if presentable – dress to impress!
    • And make sure you feel free and just as capable in your playing as if you were on stage or in an actual audition room.
  5. If the audition is going to be asynchronous…
    • Figure out if the audition needs to be entirely one take or if you can do individual takes for each excerpt.
    • Communicate with a faculty member or moderator how the recording should be formatted…
      • Should it be in a specific order? Can you send multiple clips or one long clip? When and where should be clip be submitted?
    • If you need to make a long clip (compiling all the excerpts into one video) look into free, accessible movie editing software. For iOS devices, iMovie on either a phone/tablet/laptop can take less than 5 minutes to just put individual excerpts together and save to your camera roll.

What are you best audition preparation tips? Do you have any audition horror stories that you learned from? Feel free to share your thoughts below!