Nailing it: audition preparation

Auditions, which are always part of the conservatoire admission process, assess performance ability and potential. They usually include an interview and sometimes a separate musicianship or theory test. University music courses may or may not require an audition, and if they do, it will serve broadly the same purpose as at a conservatoire, with similar elements. This article discusses a range of issues to consider ahead of your students’ auditions to help you help them prepare for the big day.

Planning ahead

Conservatoires and universities all have their own audition requirements, and it's crucial to find these out well in advance. Some will have compulsory set pieces, some allow applicants to choose from a repertoire list, and some allow a completely free choice. Some have specific scale requirements while others are vaguer, simply stating that scales may be asked. Familiarity with Grade 8 scale requirements is good preparation for this. There may also be a sight-reading test, probably at minimum Grade 8 level.

Applicants will typically be asked to perform two pieces, so it makes sense for them to choose one that demonstrates technique and another that showcases tone and musicality. Teachers are crucial in helping students choose repertoire that shows them in the best light. I would advise performing a slightly easier piece well, rather than attempting a harder piece but not quite managing it.

The audition panel is not always looking for the most technically competent player. Rather, they want students with potential. Some candidates will have been to specialist music schools, receiving tuition from world-class teachers for years. Applicants from different backgrounds should try not to be intimidated by this as the panel knows how to adjust for previous experience.

On the day

The panel will typically comprise two to four people, usually the head of the discipline being auditioned (eg clarinet), the head of that department (eg School of Wind, Brass and Percussion) and possibly an additional teacher, lecturer or member of the pastoral staff. One member of the panel will usually take the lead.

The audition typically starts with prepared pieces, followed by sight-reading and scales where applicable. The panel may then ask some general musical questions, including about the applicant's musical experience. They might also ask about the pieces being performed, testing the candidate's knowledge of these, and there may be some discussion about musical inspirations and favourite performers.

At the end, the panel will usually ask applicants if they have any questions of their own. I would recommend always having a question ready as this shows an interest in the institution and course. For example: How are teachers allocated? How many contact hours will I have? What ensemble placements are there?

Some institutions have one audition while at others there are two rounds, and sometimes there is an additional scholarship round. The process can also include performing in a workshop with other applicants, in which a teacher will offer feedback to see how candidates respond. This is an interesting opportunity to meet and hear other candidates. It should not be a reason to feel intimidated by those who may have had more musical training, as the panel will adjust for such differences.

Conservatoires mostly provide a pianist for disciplines that need one. Some allow applicants to use their own pianist while others ask that theirs be used, so check this. The allocated rehearsal slot is usually just long enough to run through the audition items once, so applicants must know their piano parts inside out ahead of this rehearsal. On a related note, it helps to make the pianist's life as easy as possible by marking in any breathing points, omitted repeats, tempo changes and so on. It may be worth paying a professional pianist for a few rehearsals before the audition. Universities are less likely to provide an audition pianist, so again, check.

Other tips for success

I highly recommend that students go for consultation lessons with teachers they are considering studying with. This serves two purposes. Firstly, they get to meet their preferred teacher, who is often the most important part of the conservatoire or university experience. Secondly, it gives the teacher a chance to hear a student in a less formal environment and perhaps over a longer time period. Many teachers will also give candidates an indication of their chance of success at audition, although this does depend on who else auditions in the same year. Students can be apprehensive about contacting teachers, but most teachers are happy to be contacted either via their personal websites or via conservatoires and universities, which often have systems in place for this.

An alternative to consultation lessons is for students to attend courses with teachers they are considering learning with. Many teachers coach on summer courses, which can be an excellent way to get to know a teacher and meet other like-minded individuals.

Mock auditions

Another tip is to organise some realistic audition practice. Auditions can be scary, and students will no doubt be a little nervous. To help them practise their auditions in advance, set up a mock audition or ask their peers or parents to do this. Use venues that your students are not familiar with, and take the mock auditions seriously.

Through mock auditions, students will learn which elements of their playing they struggle with when they are under stress. They should wear what they will wear for the audition and practise things as simple as walking into the room. Some panels may offer a handshake on entering the room but others will not, and students should be prepared for either eventuality. Appearance shouldn't influence the panel, though it's a good idea to wear something smart but comfortable.

A couple of final tips are to carry any spares you might need with you (for example, have more than one good reed or keep some extra strings) and don't be afraid to take a bottle of water into the audition as many people get a dry mouth when nervous. A word of caution though – I will never forget one of my undergraduate auditions where I was carrying two saxophones, music and a bottle of water into the room and accidentally broke my alto sax reed on the door on the way in. Being a shy 18-year old I was too embarrassed to admit it, so I played the whole audition on a broken reed. I now always have a back-up reed in my pocket whenever I perform.

I hope this article has given you a few useful pointers to help prepare your students for their entrance auditions. Preparing fully should allow them to focus less on the process of auditioning and more on communicating their love of music and of their instrument or voice.