Whether you are a high school senior working toward entry into a college music school, a college senior

looking to pursue a graduate music degree, or a music director helping stu-dents choose the right schools, preparing for the required step of a college audition can be daunting. Once the decision has been made to pursue a music degree or to continue as a non-major playing for the joy of music in the marching band, show choir, or orchestra, several steps can make the process simpler, more informative, and less stressful.

Before the Audition (months & weeks ahead)

Finding a school: The first obvious area of research will be the schools you want to consider. There are many quality pro-grams here in Texas and more around the country that provide outstanding musical experiences. You will find small schools, large schools, programs that focus on music education, others that have a majority of performance majors, and some that have a mix of both. There are pros and cons for attending any univer-sity, and you need to weigh those differ-ences to find the best fit for you.

Once you establish the list of schools you are interested in attending, contact the prospective major professor of each, visit the campus, attend concerts, get to

know the students in the studio, and visit the website to learn as much about the program as possible. Talk to your direc-tors, friends, and alumni from your high school about different programs to gain a broad perspective from their experience. The most effective way to learn about each program is to talk with the faculty and students at each institution. Attending their concerts will also inform you about their repertoire focus and overall perfor-mance level. Once again, you are looking for a school that is the best fit for you and your career, not just the school that some-one recommends based on their personal experience.

After talking with professors and stu-dents, narrow your school application list down to three or four schools. Apply to each and submit all required forms, including scholarship and housing forms, within their specific deadlines. Graduate students need to be aware that many grad-uate program deadlines are in December, and some programs are now moving to a pre-application process requiring videos and recordings. Once you have received your audition date, have your director, studio professor, or private lesson teacher send a recommendation letter to the music school. This is a great way to set you apart from the multitude of students auditioning.

Audition preparation: Choosing audi-tion music can be challenging, but it

doesn’t need to be. Most programs have their audition requirements online. If not, email the major professor to ask what is required. When selecting music, don’t choose the hardest (or easiest) pieces in your repertoire. Perform pieces you feel extremely comfortable playing in front of anyone at any time, even if it is a piece you played the previous year. You want to show the panel your strengths, not illus-trate the fact that you can play through part of a difficult piece or that you can nail a middle school level solo.

Understand that most auditions have time constraints. Auditions typically last between 10 and 25 minutes depending on the school’s audition requirements, the number of students auditioning, your individual preparation, and whether the session includes time for questions and answers. While performing All-State etudes can be effective for undergradu-ate auditions, playing complete solos and etudes will better demonstrate to the panel that you are a well-rounded musi-cian. Masters students should prepare senior-level recital material and doctoral students should prepare music from a master’s-level recital.

To prepare for the audition itself, per-form mock auditions in front of your friends, family, and directors. Be sure to ask individuals for whom you have not previously performed to better simu-late the audition situation. Practice in a

by Brian Zator

The CollegeAudition

56 Southwestern Musician | October 2010

variety of environments to help increase your comfort level with the unfamiliar. If you are a percussionist, vocalist, or string player (or anyone who stands during the audition), wear the shoes you will wear during your audition each time you mock audition.

Last, but certainly not least, prac-tice sightreading! Most schools require sightreading as a component of the audi-tion because the results help differentiate between more skilled players and those who will require more preparation time on new music. Once you are in college, you will be expected to learn a great deal of music in a short amount of time, and sightreading helps professors distinguish who can handle the workload.

Portfolio preparation: A portfolio can help you make a wonderful first impres-sion on the audition panel. They will see that you are organized, motivated, and professional. Your portfolio should include your audition music and your resume. Your resume does not need to be long but should include your name, school, and contact information, honors and awards, solo repertoire, your career goals, and a list of extracurricular activi-ties (e.g., church choir, golf team, Eagle Scout). Bring two copies of your portfolio so the entire panel can read your materials.

During the Audition (day of the audition)

Demeanor on the audition day: There are several aspects in addition to your actual performance that will help calm your fears and allow you to enjoy the audi-tion process. Non-performance aspects include arriving early to register, having a relaxed warm-up, and wearing something comfortable, yet appropriate. Don’t wear jeans and a worn-out T-shirt, but don’t wear a tuxedo either. This is an interview situation, so you should look and feel pro-fessional. Dressing appropriately shows the panel that you respect them and the audition process.

While on campus, be confident and be yourself. It’s important to see if you’ll fit in. Don’t be afraid to talk with the stu-dents. They’ve been in your place and will be excited to see prospective students on campus. One thing you want to avoid, however, is bragging about your amazing high school program. While your suc-cesses have been important in getting you to this place, what’s important now is how

you will succeed within the program you are considering.

During the audition: Perform like you practiced. Since you have practiced in a variety of spaces and in front of different audiences, you should feel comfortable in front of the panel. It is natural to be ner-vous, but rely on your preparation and perform to the best of your abilities.

Some things not to say include, “I don’t know this piece very well, but I’ll try any-way,” or “It’s been a while since I practiced this.” Unfortunately, most audition pan-els have heard these types of comments before. This will most likely be the first time these individuals will hear you play, so make a great first impression. Don’t try to impress them by playing the piece faster than required; the panel wants to hear quality sounds and great musical-ity, not mediocre phrases played blazingly fast.

Questions to Ask (on or before the audition day)What types of scholarships are offered?

Almost every school in the country offers two types of scholarships. The first is aca-demic and is based solely on your school grades, SAT, and/or ACT scores. These are awarded by the university and are objective. You either have the grades to receive the money or you don’t. Take the SAT and/or ACT multiple times to get the highest score possible to qualify for more financial aid.

The second type is competitive and is based on your audition. You are compet-ing against every other prospective stu-dent. Most schools have a finite amount of money to award, and once it is offered, they can’t offer any more. There are sev-eral criteria that factor into the awarding of competitive-based scholarships:•Audition results: how well did you play?• Attitude: will you fit into the studio

and work well with others?•Music department needs: studios low in

numbers will receive more money to bring in students than those with ample students.•Student potential: while you may not

be the best player, you could show great potential as an outstanding contributor to the program through your references, a positive attitude, and willingness to learn.

What types of performance opportu-nities does the program offer? Since you will know through your research about the school’s ensembles, find out what the ensembles are doing, including tours, contests, outside concerts, recordings, and commissioning projects. As an individual, you want to find out how many students are in the studio and when you will study with a graduate assistant and/or the major professor. Ask if there is a curriculum plan for lessons and if they offer master classes with guest artists. Professors and schools vary in their philosophies, and it is wise to understand how the program is

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structured to find the best fit for you. What are current students doing musi-

cally? This question will reveal what stu-dents are doing outside of their normal classes, lessons, and ensembles. Answers might include marching drum corps, attending summer festivals, teaching summer camps, teaching local schools or private lessons, and competing in local, national, and international competitions. A healthy program has students who are exposed to extracurricular activities.

What are alumni doing? It is important to know about the success of your pro-spective schools’ graduates. You can ask about the job placement rate and what types of jobs students receive. If you want to be a music education major and teach in Texas, you will have to pass the TExES exam to be certified to teach, so inquire into the school’s passing rate for this exam.

After the Audition (days, weeks, and months)

There are two categories of activities to complete after your audition, whether you are pursuing an undergraduate or graduate degree. The first consists of aes-thetic activities—those through which you can become a better person, musician, community member, and well-rounded individual. Attend local concerts and recitals of professional or school groups and listen to different styles of music. If

you are a pianist, attend a jazz festival, or if you are in choir, attend a symphony concert. Attend a summer music camp or festival. Most importantly, no matter what instrument you play or if you sing, perform as often as possible. Perform for your friends, parents, relatives, and others in formal and informal settings. Whether in school, the community, at church, or even at a local coffee house, you should perform. You will learn to play or sing at a whole new level and will be able to relate to the music you play at a much higher level as well.

The second category includes pragmatic activities. Continue practicing over the summer. Auditions for ensembles usually occur at the beginning of the fall semes-ter, and you want to be prepared. Work with a private lessons teacher and don’t let your skills wane during the summer or over the holidays. Incoming fresh-men need to practice piano, music theory, and ear training. These are three of the most important classes for music majors because they form the foundation for a successful music career. Online resources are available to help in your home training (e.g., www.musictheory.net). Graduate level students should review music his-tory, music theory, and ear training materials. You will take diagnostic exams soon after you arrive, and if you fail them, you will have to take remedial classes that do not count toward your degree.

After the AcceptanceAfter schools have notified you of

your acceptance, you need to evaluate the information you gathered through your research and the audition process to make a sound decision about which school is the best fit for you. Once you make that decision, return the scholarship and acceptance form to that school. Let the professors know you are very excited about the upcoming school year and that you look forward to working with them soon. To the schools you will not attend, send an email or letter thanking them for taking time to listen to your audition and for the offer they gave you. Doing this now can help you later when you are looking for graduate schools, a job, or to attend a camp or convention. The music world is a small community and these thank you notes will go a long way toward a productive career.

Keep an open mind about your career path. Although you might want to be a member of the Chicago Symphony or sing on Broadway, don’t close other doors too quickly. The pathways for a career in music are plentiful—performance, teaching, recording, publishing, busi-ness, music therapy, and much more. Experiencing myriad opportunities will allow you to get to know other people in other disciplines, and through that you might find yourself heading in a direction you hadn’t previously considered.

Regardless of your background or your plans for the future, be yourself and be professional. Ask questions along the way to limit surprises. When communicat-ing with professors, show them the level of respect they have earned, as they will return that respect to you throughout your career.

Although certainly stressful, choosing a new school can be an exciting adven-ture and should be enjoyable. While the process is inherently competitive, know that every professor and school wants you to succeed. Consider the experience and opinions of others, but in the end, go where you feel most comfortable and where you will be challenged to fulfill your aspirations. 0

Brian Zator is the Director of Percussion at Texas A&M University-Commerce.

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58 Southwestern Musician | October 2010