i don't do planning so that i can be ultra-prepared. i do planning so that i can be LAZY, and just follow my own directions later.

consider this your manual to passing the dreaded resume round of orchestra auditions. it's the what/why/how, plus a 3-step getting started guide.

auditions are basically a huge funnel. a stream of people go in one side and one pops out at the end. here's a 7-step video guide to the whole process.

if i could go back in time and evaporate a massive amount of lifetime stress, i'd teach myself how to win an audition from the start. and this is what i'd say.

why's everyone so tight-lipped about auditions?

an easy-to-implement tip to deal with that crucial (and stressful) moment right before you play.

it's my NEXT EPIC PROJECT: i want to help you master auditions.

because nobody EVER claps after you finish an audition round. (it's breaking the rules!)

but that pesky audition panel ~*is*~ listening to you in a different way during each round. here's how.

break through an excerpt plateau using this 5-step process.

why mimicking is ok and you should do it shamelessly.

you know what’s weird? we’re all STUCK in our instrument tribes. here's where musicians of all types can come together and discuss auditions.

as classical musicians, we design our lifestyle around intense practice sessions. that's almost always a good thing. there's only one thing that's more important: family.

in honor of the recent mayweather vs. pacquiao fight, i'm presenting another classic showdown: choosing which audition(s) to take. i faced this conundrum in early 2011. there were three choices - take the met, take nashville, or take both. read on to find out what happened.