two excuses i hear a lot about why people don’t record their audition:
they’re not allowed to, or
they don’t know where to hide the recording device.
hmm…. legit excuses, or not? what do you think?
the problem is that if you don’t record your audition, you’ll never know how you really sounded in the room.
you may think you know. but between the extra adrenaline and the nerves (which this website says can produce a "sense of doom” which i totally get), you’re not in your right mind at an audition.
to really understand what happened at your audition and what you can do about it, you need to listen to your actual audition recording and play it for others.
for instance, if you don’t have room for a bulky zoom recorder, or you’re not allowed to bring in a cell phone, what about a secret spy pen? james bond would approve:
in this video i’ll show you how to sneak a recording device into your audition.
i also compared 7 recording devices to see which one works best.
i tested two different pens, a heart necklace, and a USB key against some of the more standard recording devices.
so check out the results and listen to the difference in each recording device.
want to really know how
you sounded in the room?
check out these recording devices.
imprecise rhythm is something that can get you cut from an audition IMMEDIATELY (regardless of your instrument). and great rhythm is something that an audition committee can sense, both consciously and subconsciously. hearing someone play in the pocket just feels good.
well, i have a few tricks up my sleeve to straighten out my rhythm, and today i'm sharing one of the most effective strategies.
things i do on audition day:
warm up by playing on the hotel pillow,
watch vast amounts of tv shows on my phone, and
never drink coffee.
when i was in detroit in february i got to interview three great DSO musicians on how they approach audition day. pretty fascinating to see how their approaches are so different from each other.
i’m endlessly fascinated with how musicians practice (as you know). so i was fortunate to talk to augustin hadelich, international violin soloist, about how he gets ready to play a different concerto with a different orchestra every week.
one way that i keep myself sane is to make a practice schedule and keep it up to date. you can use paper and pencil, a word document, evernote, or a wall. in today’s video i explain how to get it set up.
i’ve been getting lots of messages from people having trouble finding motivation or direction now that they’re at home all day. i’ve been dealing with the same issues, but i’m finally out of the funk.
so i made a video about how to get motivated and set practice goals (during coronapause). check it out.
this is an interview with nathan hughes, principal oboist of the metropolitan opera and faculty at juilliard. he has to practice and make reeds… every day. anyone who wonders how to balance the artistry and the project management of being a musician should watch this.
some days i’ll feel good about my playing. but some days i'll walk into the opera pit and question whether i really deserve to be there.
i’ll think <with an extremely fred savage from the wonder years voice>, “i wonder how i ended up here. oh well, i guess i’ll pretend to be a professional musician and play the triangle again today.”
it’s called imposter syndrome.
but just because you experience imposter syndrome doesn’t mean there’s something wrong with you. problems are figureoutable. anything you’re lacking as a musician is something that can be analyzed, addressed, and eventually solved.
in today’s video i’d like to tell you about my experience with imposter syndrome, and how i’ve worked to overcome it.
i've worked with hundreds of musicians on audition preparation. and nothing - NOTHING - has been as effective and life-changing as when they start self-recording the right way.