each of them has three things in common
3 reasons why the post-audition hopeless moment is what separates winners from the pack
if nerves are psychological, why don’t they teach us how to deal with this in school? well, they do. his name is noa.
college auditions decide your life, so choosing your repertoire has to be very carefully considered.
your brain has a limited capacity to remember things. here’s 3 ways to deal with that and practice better.
i’ve heard lots of marimba players with huge potential shoot themselves in the foot by missing these basic elements of musicality.
guys, it can be confusing to get started with phrasing... it’s unwritten. and it’s very personal. today’s new video is about how to get started.
are you making an audition video at some point this year? here are some tips to not screw it up.
it’s so annoying when you’re trying to get a piece ready for your lesson or for an audition and there’s one part of it that seems impossible.
if you’re the person who practices the MOST, does that mean you’re gonna win your next audition?
i interviewed jake nissly of the SF symphony for today's video! it’s all about how to take musical risks in auditions, and i also ask him how he won 3 principal auditions in a row.
why you can’t let these ‘limiting beliefs’ stop you from auditioning.
how tom reaves went from never advancing to audition machine.
why you can't afford to "wait until you're ready" to start taking auditions.
ok. there are only two words that should go through your mind after you get an audition rejection. “what’s next?”
have you ever experienced being unprepared for orchestra? (you don’t have to answer that.)
a few considerations when choosing your college if you eventually want an orchestra job
i'd like to invite you to step into rob's practice room, aka my new youtube channel!
and 20 mock audition stress-inducers
two resolutions, a new course, better videos, and an announcement! let's do this, 2017.
and 14 other german audition questions, answered.
you should consider auditioning for a german orchestra. here's how it works, according to tom greenleaves, timpanist of the gewandhaus orchestra.
whatever you do, the committee's listening. :-O
auditioning is the same as an election, sort of. so, in a hypothetical world where hillary and bernie are both auditioning for an orchestra, who wins the job?
freelancing is a great way to do it, and my buddy seth knows a systematic way to get gigs.
the list isn’t out yet. what should i do?
i’ve been collecting all my lesson and practice notes into one system forever. here’s what it looks like.
it’s like hitting command-save after each practice session.
and other insights into how jeremy epp, principal timpanist of the detroit symphony, prepared for his auditions
he must be doing something right.