{"id":2298,"date":"2011-11-16T22:19:48","date_gmt":"2011-11-17T02:19:48","guid":{"rendered":"http:\/\/lisaflute.com\/fluteblog\/?p=497"},"modified":"2019-11-26T20:09:26","modified_gmt":"2019-11-26T20:09:26","slug":"preparing-for-an-audition-entry-1-two-months-ahead-2","status":"publish","type":"post","link":"https:\/\/lisaflute.com\/fluteblog\/index.php\/2011\/11\/16\/preparing-for-an-audition-entry-1-two-months-ahead-2\/","title":{"rendered":"Preparing For an Audition: Entry #1: Two Months Ahead"},"content":{"rendered":"

[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”3.22″][et_pb_row admin_label=”row” _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text admin_label=”Text” _builder_version=”3.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”]<\/p>\n

This is the first in a series of audition preparation tips, in the hope of having you in tip top shape to show the best of your glorious musicianship for the judges! What should you be doing right now to make sure you put your best foot forward in January (or October for Winooski Valley auditions)?<\/address>\n

\u00a0I.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Review all the basics of flute playing in general that you\u2019ve (hopefully) already been working on for the past few years, including:<\/p>\n

A.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tone. Follow your teacher\u2019s advice about tone development! With strong, solid, in control tone, you\u2019ll have the potential to increase your score in the following areas of the Vermont All State adjudicator\u2019s evaluation form:<\/address>\n
1.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tone (obviously)<\/span><\/address>\n
2.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Intonation<\/span><\/address>\n
3.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Expression<\/span><\/address>\n
4.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Facility<\/span><\/address>\n
5.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Musicality in Sight Reading<\/span><\/address>\n
Without strong tone, you simply don\u2019t have much chance of full control over these elements \u2013 like trying to learn to multiply before you know how to add \u2013 it just won\u2019t work. Clearly, you have a lot of points to lose, and potentially many to gain, with strongly developed tone. Hopefully, you have a teacher who is working with you on elements of tone and its many applications. You may find it helpful to check my series on tone by clicking here.<\/a><\/span><\/address>\n

<\/span><\/address>\n
B.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Intonation. You may wish to check out the article linked here, by Stephanie Mortimore, on piccolo intonation<\/a>. Most of the article applies equally well to flutists, and it\u2019s the clearest, most straight forward, and easily readable explanation of intonation I\u2019ve ever read. You may also wish to click here to purchase \u201cThe Tuning CD\u201d<\/a> available either as a CD or as a download (I hope to\u00a0putting up more blog entries about ways of using the CD, but in the meantime you may wish to check some of Jennifer Cluff\u2019s entries linked here<\/a>).<\/span><\/address>\n

<\/span><\/address>\n
C.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Posture and Hand Position. Hopefully this is well under way in development. You may not end up successfully making major changes on this end of your playing in two months time. On the other hand, if you\u2019re on the way with the process, keeping aware of it may be a real help in giving you an edge on almost all fronts \u2013 from tone, intonation and expression, to facility, to accuracy of notes, speed of scales, and more. For a brief overview of posture and hand position you may wish to check out some of my blog entries on posture and hand position, linked here.
<\/a><\/span><\/address>\n

<\/span><\/address>\n
II.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You should be into the final stages of polishing your playing in three areas:<\/span><\/address>\n

<\/span><\/address>\n
A.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Your performance piece. The 2011-12\u00a0All State selection for flute (was)\u00a0the first and second movements of Bach\u2019s Sonata in E Flat Major (2012-13 Hindemith Sonata movement 1; 2013-14 Honegger Danse de la Chevre; \u00a02014-15\u00a0Mozart Concerto in G movement 1; 2015-16 back to Bach E flat;\u00a0Click here\u00a0for Winooski Valley District Festival Audition selections<\/a>). At this point, you will hopefully have learned the notes and rhythms fully and accurately. If not, it\u2019s time to jump in with both feet and get it down! THIS WEEK!! NOW!! And that means ALL the notes and rhythms \u2013 no excuses! This is hopefully time for finishing up the polishing touches so that you can hum it in your sleep, with dynamics and details solidifying. If you haven\u2019t done so yet, purchase a recording (or preferably several different recordings) of the piece, or at the very least, start listening to a REALLY GOOD YouTube video. <\/span><\/address>\n
For my thoughts on some good recordings of the Bach E Flat, click here<\/a>. <\/span><\/address>\n
click here for thoughts on and YouTube samples of Mozart Concerto recordings\u00a0<\/a>
<\/span><\/address>\n
<\/address>\n
B.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You should be able to play all major scales up to speed and according to specifications at this point (click here for rhythm and tempo details<\/a> – for All State: major scales: 16th<\/sup> notes at quarter note = 88, with root being an 8th<\/sup> note; chromatic in slurred triplets also 88).\u00a0 If you don\u2019t have them thoroughly memorized, now\u2019s the time! No excuses. DO IT! If you\u2019ve got them memorized, make yourself some flash cards. Being able to pull them out at random, and having the regular experience of doing so and knowing you\u2019ve aced them every time is really key! If you need help memorizing scales and related key signatures, click here for the first in a series of tutorials<\/a>, or click here for a game that might be both fun and helpful (on this game, be aware that some computers do not register the flat symbol – so look for a blank space!).
<\/a><\/span><\/address>\n

<\/span><\/address>\n
C.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sight Reading. Pull out selections you\u2019ve never played before \u2013 maybe from one of your books, maybe from a book your teacher recommends, maybe from browsing online at <\/span>flutetunes.com<\/span><\/a> or other online site, or SmartMusic if you have it. Then click here for a blog entry on steps to practice in sight reading.<\/a> Print this list, and apply it to everything you sight read. Take your time in assessing it all, learn these steps and apply them methodically and consistently, so that when you\u2019re faced with something new in front of a judge you know what to do without hesitation or worry.<\/span><\/address>\n

<\/span><\/address>\n
III.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Check this list (above). See where your weaknesses are (we ALL have them – the key to getting better is being willing to look at your weaknesses and DIG IN to them directly!). If you\u2019re behind don\u2019t despair! You can do it \u2013 just make sure you start NOW! Also \u2013 even if you\u2019re feeling behind right now, any work that you put in, and any feedback you receive from the judges will be a good step in the direction of your next audition. Remember, the whole purpose of this process is to inspire you<\/span> to be a stronger musician! So, set your feet firmly on the ground, stand tall and confident, and dig in!<\/span><\/address>\n
\u00a0<\/address>\n
\u00a0And then on to the next entry:\u00a0Seven Weeks ahead<\/a><\/address>\n

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This is the first in a series of audition preparation tips, in the hope of having you in tip top shape to show the best of your glorious musicianship for the judges! What should you be doing right now to make sure you put your best foot forward in January (or October for Winooski Valley […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

This is the first in a series of audition preparation tips, in the hope of having you in tip top shape to show the best of your glorious musicianship for the judges! What should you be doing right now to make sure you put your best foot forward in January (or October for Winooski Valley auditions)?<\/address>\u00a0I.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Review all the basics of flute playing in general that you\u2019ve (hopefully) already been working on for the past few years, including:\r\n\r\n
A.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tone. Follow your teacher\u2019s advice about tone development! With strong, solid, in control tone, you\u2019ll have the potential to increase your score in the following areas of the Vermont All State adjudicator\u2019s evaluation form:<\/address>
1.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tone (obviously)<\/span><\/address>
2.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Intonation<\/span><\/address>
3.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Expression<\/span><\/address>
4.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Facility<\/span><\/address>
5.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Musicality in Sight Reading<\/span><\/address>
Without strong tone, you simply don\u2019t have much chance of full control over these elements \u2013 like trying to learn to multiply before you know how to add \u2013 it just won\u2019t work. Clearly, you have a lot of points to lose, and potentially many to gain, with strongly developed tone. Hopefully, you have a teacher who is working with you on elements of tone and its many applications. You may find it helpful to check my series on tone by clicking here.<\/a><\/span><\/address>
\r\n<\/span><\/address>
B.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Intonation. You may wish to check out the article linked here, by Stephanie Mortimore, on piccolo intonation<\/a>. Most of the article applies equally well to flutists, and it\u2019s the clearest, most straight forward, and easily readable explanation of intonation I\u2019ve ever read. You may also wish to click here to purchase \u201cThe Tuning CD\u201d<\/a> available either as a CD or as a download (I hope to\u00a0putting up more blog entries about ways of using the CD, but in the meantime you may wish to check some of Jennifer Cluff\u2019s entries linked here<\/a>).<\/span><\/address>
\r\n<\/span><\/address>
C.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Posture and Hand Position. Hopefully this is well under way in development. You may not end up successfully making major changes on this end of your playing in two months time. On the other hand, if you\u2019re on the way with the process, keeping aware of it may be a real help in giving you an edge on almost all fronts \u2013 from tone, intonation and expression, to facility, to accuracy of notes, speed of scales, and more. For a brief overview of posture and hand position you may wish to check out some of my blog entries on posture and hand position, linked here.\r\n<\/a><\/span><\/address>
\r\n<\/span><\/address>
II.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You should be into the final stages of polishing your playing in three areas:<\/span><\/address>
\r\n<\/span><\/address>
A.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Your performance piece. The 2011-12\u00a0All State selection for flute (was)\u00a0the first and second movements of Bach\u2019s Sonata in E Flat Major (2012-13 Hindemith Sonata movement 1; 2013-14 Honegger Danse de la Chevre; \u00a02014-15\u00a0Mozart Concerto in G movement 1; 2015-16 back to Bach E flat;\u00a0Click here\u00a0for Winooski Valley District Festival Audition selections<\/a>). At this point, you will hopefully have learned the notes and rhythms fully and accurately. If not, it\u2019s time to jump in with both feet and get it down! THIS WEEK!! NOW!! And that means ALL the notes and rhythms \u2013 no excuses! This is hopefully time for finishing up the polishing touches so that you can hum it in your sleep, with dynamics and details solidifying. If you haven\u2019t done so yet, purchase a recording (or preferably several different recordings) of the piece, or at the very least, start listening to a REALLY GOOD YouTube video. <\/span><\/address>
2011-12 or 2015-16:\u00a0For my thoughts on some good recordings of the Bach E Flat, click here<\/a>. <\/span><\/address>
2014-15: click here for thoughts on and YouTube samples of Mozart Concerto recordings\u00a0<\/a>\r\n<\/span><\/address>
OR 2014-15 Winooski Valley District auditions:\u00a0click here for recommended YouTube samples of the Bizet Menuet<\/a>\u00a0<\/address>
\r\n<\/span><\/address>
B.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You should be able to play all major scales up to speed and according to specifications at this point (click here for rhythm and tempo details<\/a> - for All State: major scales: 16th<\/sup> notes at quarter note = 88, with root being an 8th<\/sup> note; chromatic in slurred triplets also 88).\u00a0 If you don\u2019t have them thoroughly memorized, now\u2019s the time! No excuses. DO IT! If you\u2019ve got them memorized, make yourself some flash cards. Being able to pull them out at random, and having the regular experience of doing so and knowing you\u2019ve aced them every time is really key! If you need help memorizing scales and related key signatures, click here for the first in a series of tutorials<\/a>, or click here for a game that might be both fun and helpful (on this game, be aware that some computers do not register the flat symbol - so look for a blank space!).\r\n<\/a><\/span><\/address>
\r\n<\/span><\/address>
C.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sight Reading. Pull out selections you\u2019ve never played before \u2013 maybe from one of your books, maybe from a book your teacher recommends, maybe from browsing online at <\/span>flutetunes.com<\/span><\/a> or other online site, or SmartMusic if you have it. Then click here for a blog entry on steps to practice in sight reading.<\/a> Print this list, and apply it to everything you sight read. Take your time in assessing it all, learn these steps and apply them methodically and consistently, so that when you\u2019re faced with something new in front of a judge you know what to do without hesitation or worry.<\/span><\/address>
\r\n<\/span><\/address>
III.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Check this list (above). See where your weaknesses are (we ALL have them - the key to getting better is being willing to look at your weaknesses and DIG IN to them directly!). If you\u2019re behind don\u2019t despair! You can do it \u2013 just make sure you start NOW! Also \u2013 even if you\u2019re feeling behind right now, any work that you put in, and any feedback you receive from the judges will be a good step in the direction of your next audition. Remember, the whole purpose of this process is to inspire you<\/span> to be a stronger musician! So, set your feet firmly on the ground, stand tall and confident, and dig in!<\/span><\/address>
\u00a0<\/address>
\u00a0And then on to the next entry:\u00a0Seven Weeks ahead<\/a><\/address>","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[24],"tags":[],"class_list":["post-2298","post","type-post","status-publish","format-standard","hentry","category-preparing-for-an-audition"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7tV8m-B4","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/posts\/2298","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/comments?post=2298"}],"version-history":[{"count":4,"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/posts\/2298\/revisions"}],"predecessor-version":[{"id":3475,"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/posts\/2298\/revisions\/3475"}],"wp:attachment":[{"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/media?parent=2298"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/categories?post=2298"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lisaflute.com\/fluteblog\/index.php\/wp-json\/wp\/v2\/tags?post=2298"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}