What I listen for in scholarship auditions

ByBret Pimentel

It’s scholarship audition season again, which means I get to meet and listen to some very nervous high school seniors (and community college sophomores).

My university is a small regional one, so our audition process probably isn’t as intense as some of the big name-brand music schools. If you’re preparing for an audition, you should definitely check in with that school to see what they expect, but here’s what I usually hear auditionees play, and what I’m thinking while I listen.

Scales

I’ll likely ask to hear major scales in two or three keys, and maybe a chromatic scale as well. Generally top scholarship audition winners are ready to play all twelve, but if a prospective student only knows some of them then those are the ones I want to hear. They should be played in as many octaves as are practical for the instrument (or full range!). I don’t care much whether they are tongued, slurred, in some particular rhythm, etc. I do care that they are played evenly and with control, even if that means they are on the slow side. Fast and sloppy does not earn any scholarship dollars.

What I’m ultimately looking for is evidence of a disciplined, methodical approach to learning the instrument and its fingerings, throughout the instrument’s standard range. A student who has laid this groundwork probably has the dedication and practicing-related skills to succeed in college-level music studies.

Prepared repertoire

I prefer to hear something somewhat technical/notey plus something slower and more lyrical. It doesn’t matter to me whether it’s, say, two different etudes, or one repertoire piece that has elements of both.

In the more technical passage I’m interested in seeing evidence of ability to deal with lots of musical information at once: notes, articulations, alternate fingerings, etc. What this really boils down to is preparation—getting a relatively complicated piece into muscle memory. Again, I’m not especially concerned that the tempo be fast; if the student plays something polished and poised at a slower tempo then I know they will be capable of working the tempo up later.

For the more lyrical excerpt, I’m listening more specifically for musical thinking. Can the student join notes together into phrases, in at least a basic way? Can they execute dynamic changes and contrasts in a way that feels integral to the melodic line? Can they demonstrate fine control and beauty of tone?

Students who have had prior private lessons, or at least some good direction from a school band director, typically show up with etudes and/or repertoire from the instrument’s standard canon. That isn’t strictly necessary for purposes of evaluating students’ potential, but it does show that they have some idea of what they are getting into. Pop tunes or parts from their school concert band or marching band aren’t really appropriate, but if that’s all a student has then that’s what I’ll listen to. (I usually follow up with some questions to make sure they are clear about the nature of the degree program.)

Sight reading

Lots of auditioning students seem to regard sight reading as some kind of trap, like I’m trying to trick them into playing wrong notes so I can deny them a scholarship. But what I’m really interested in is seeing what approach they take to something new: are they able to count out rhythms, follow key signatures, and make some educated guesses about interpretation? Or do they seem to depend on someone else to teach them the rhythms by rote and remind them each time they play a wrong pitch? I have occasionally had students who are very good at executing something learned by rote or by ear—and these are valuable skills—but I need to verify their ability to read music. Substandard reading isn’t necessarily a dealbreaker if they show strong abilities in other areas, but I (and they) need to know what they are up against.

Habits and presentation

I always ask auditioning students about their practice habits, since the number of weekly practice hours required for college-level success can be surprising and overwhelming to incoming students. This isn’t really about me awarding scholarship money for being a good practicer—it’s about making sure the student is clear about expectations and shows willingness and enthusiasm for some hard work.

When I listen to an audition I’m acutely aware that this person is potentially someone I will spend many one-on-one hours with over the next several years, and I would like for that to be a pleasant experience. Factors like manners, dress and grooming, and communication skills aren’t part of what I am formally evaluating, but they do hint at what the student would be like to work with. I don’t have specific protocols or dress codes I expect them to adhere to, but I’m looking for some clues that they take the audition process seriously and want to lay groundwork for a positive student-teacher relationship.

I hope that helps. Good luck!

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    • Evaluating student performances (aural skills, theory, history). Sometimes when I pick out a wrong note in a student’s performance, they express amazement that I have so much music “memorized.” I don’t. But I can follow the score and tell when what I’m hearing doesn’t match.
    • Preparing lectures, presentations, program notes, and so forth (theory, history). What makes this repertoire piece, this composer, this technique, this performance practice important? Context is crucial.
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    • Arranging, adapting, transposing, and transcribing music for soloists or ensembles (theory, aural skills, keyboard skills). This can be elaborately creative or simply functional. But every working musician and music educator at least needs to be able to take a given piece of music and make it work for a different instrumentation, taking into account instrument ranges, chord voicing, and balance.
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    • Demonstrating musical effects for students/ensembles (theory, aural skills, keyboard skills). Good music teachers don’t let the instrument(s) collect dust, even if their primary outlet is as a conductor. Music is an aural tradition, and a “picture” is worth a thousand words. (“Instruments” in this situation includes the voice, for singers and non-singers alike.)

    That list is teaching-focused; as a performer I use all of those skills just as much, if not more. Study hard!

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    The tip he shares is similar to something I do during final performance preparations: I jot two or three key reminders on a sticky note (“Take your time and breathe,” “Keep fingers relaxed,” etc.) and stick them at the top of the page, covering the first few notes. That way when I get on stage I can make myself remember and focus on those few key items, rather than stressing myself over all of the details, and I give myself an extra moment to think and relax while I move the sticky note out of the way.

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    Student: [Corrects posture, begins to play, then slouches again.]

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    Student: [Corrects posture, continues playing, then slouches.]

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    After some recent windy weather I saw someone in my neighborhood cutting up some fallen tree branches with a chainsaw. He wore jeans and sneakers and handled the saw with something less than familiarity.

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    Q&A: Instrument purchases

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    Here are some of the questions readers sent me in celebration of this blog’s 10-year anniversary. I have edited, combined, and otherwise adapted some of them but hopefully there are answers here for those of you who were kind enough to inquire.

    What starting models do you recommend as an entry point for each woodwind?

    Hi! What brand of clarinet would you recommend for an intermediate high school clarinetist who plans on majoring in music education?

    I suspect that you’re both looking for specific brand recommendations, which I mostly avoid doing on the blog, for reasons I’ve highlighted previously (tl;dr: equipment recommendations tend to outlive their usefulness—people cling to them while the market changes around them). Sorry. What I’ll do instead is offer some general advice that applies to beginners, college music majors, woodwind doublers, everybody.

    If you’re buying an instrument on a budget, because you’re a beginner, or because you’re a doubler picking up a secondary instrument: buy the highest-quality student-model instrument you can afford. Get good, current, targeted advice from your private teacher (contact/hire one before you buy your instrument!).

    If you’re in, or about to be in, college: consult with your professor. Period. Head off to college with the instrument you already have, and let your professor guide you through the process of buying what you need.

    As far as I’m concerned, that’s what most woodwind players need to get through their complete formal musical training: a good beginner instrument, and then an instrument suitable for college-level study. “Step-up” or intermediate instruments generally aren’t worth it—they cost most of what a college-suitable instrument costs, but don’t play much better than a good beginner instrument. If your budget is bigger than necessary for a student-level instrument but not big enough for a college-appropriate one, buy a good student model and save up the rest for the next purchase.

    For clarinetists, saxophonists, and oboists, often the college-level instrument is a true professional model, and you won’t ever need anything fancier. Professional level flutists and bassoonists may have more of a need(?) for a nicer instrument beyond their undergraduate degrees, and these can sometimes be in the price range between a new car and a new house.

    How do I deal with the cost of buying all of these woodwind instruments for college?

    If you’re thinking of studying multiple woodwind instruments as a college undergraduate, firstly I recommend that you think that through carefully, and get in touch with the music faculty at the school(s) you are considering. I think for most undergraduate students (including my past self), it makes sense to major in just one instrument, for reasons I’ve addressed previously, and at many schools high-level undergraduate study of multiple woodwinds is impossible or impractical. I think that for most aspiring doublers, graduate school is a better place to dig deeply into it.

    To address your question, though: college-suitable woodwind instruments are expensive, but almost certainly less expensive than tuition or room and board at an American university or maybe even a few semesters’ worth of textbooks. If you’re college-bound in the USA, a pro-level clarinet or oboe is probably the least of your financial woes.

    If you’re planning to pay your way through school with scholarships, then that might not be money you’re able to access for things like instrument purchases. Depending on your personal financial values, it may be worthwhile to get student loans to cover the cost of a new instrument, and pay them off at relatively low interest after you graduate.

    Depending on the instrument and the school, you may be able to borrow or rent a suitable school-owned instrument while you make arrangements to purchase your own.

    Thanks for the questions! Good luck with your instrument purchases.

    More 10-year anniversary Q&A

  • Buying a new instrument for college-level study

    ByBret Pimentel

    If you are preparing to start a college music degree, you may need or want a new instrument. I strongly suggest that you contact your professor before making this purchase. Every professor is of course different, but here are some things that you are likely to discover in most cases:

    Photo, Andrew Shieh
    Photo, Andrew Shieh
    • The professor will be happy and relieved that you are seeking their advice before making a purchase, and will be anxious to work with you on finding the right instrument. They have seen previous tragedies involving students arriving on campus with new, expensive, and totally unsuitable instruments.
    • The professor will likely encourage you to start the semester with your current instrument, even if it’s not really college-worthy, so that you can take the necessary time to pick out a new instrument together. The professor will in many cases want to try out instruments with you to help you pick out the very best one.
    • The professor in many or most cases will have a variety of suitable makes and models in mind, including some (relatively) budget-friendly options. They are likely to have a favorite—probably the model they play on themselves—but will likely concede that the same instrument is not suitable for every single musician. Still, some may require a specific model.
    • Serious college study will require a professional-grade instrument. If you are window-shopping at a music store or online retailer, you can likely assume that anything marked “student” or “intermediate” will not be adequate for the rigors of college study. On the other hand, be aware that not everything labeled “professional” by the seller is high-quality enough for true professional use, even if it’s that maker’s top-of-the-line model. Additionally, instruments that were genuine professional models several decades ago might not be considered such anymore.
    • You may need to prepare yourself for some sticker shock. Depending on your personal financial values, it may be appropriate to use student loan funds to cover this educational expense.
    • The professor’s opinions may not jive with your opinions, the opinions of your old private teacher or band director, or opinions you read on the internet. Be prepared to learn your professor’s way for now, and make better-informed decisions on your own after graduation.

    The same advice holds true for mouthpieces and other paraphernalia. Have a great semester!

One Comment

  1. Hi,Brett! This is a great article! Organized, descriptive and specific, it’s a well-thought out and well-presented guide for prospective students. I think it’s also helpful that you give the reasons why you are looking out for certain elements and skills. In addition, I appreciate that you bring into focus signs of practice habits, critical thinking, professionalism, and other traits that have so much influence on our success in life.

    Reply

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