how much rubato is TOO much rubato?
and can you play a crescendo when it’s not written?
there are so many dilemmas like this when we’re preparing excerpts for auditions because there are no rules. there is definitely a way to play too boring. or flat.
yeah…you can play like a machine with no wiggle room in your dynamics or rhythm or tempo and you’ll sound like you’re a midi file. and you can also play too musically outrageous. like, with a too-goopy swell and an over-the-top ritardando.
is there a ‘right answer?' and how do you figure out what’s appropriate?
how do you take musical risks in auditions without going too far?
since there are no rules, per se, there must be guidelines, right? or at least a philosophy to help keep you on track?
introducing jake nissly, my college classmate and principal percussionist of the san francisco symphony, has now won three (3) principal auditions in a row:
- rincipal percussion, detroit symphony
- principal percussion, cleveland orchestra
- principal percussion, san francisco symphony
and if you’ve won 3 major principal auditions, it’s not a fluke or a lucky break. you’ve gotta be born to be a principal. so i thought jake would be the perfect person to ask about taking musical risks.
jake is one of the most methodical practicers and musical performers i know. so i asked him about this and a few other things:
- ow should you prepare for principal vs. section auditions?
- how do you practice stretching time for rubatos?
- …and more!
today’s video is about how to take musical risks in auditions without going too far, with jake nissly.
want to nail your next audition?
here's the 5-part audition preparation method i used to win a job in the met orchestra.
(for any instrument!)
mock auditions are an essential part of the audition preparation process. but just doing mocks isn’t going to solve all your problems.
it’s all in the details. exactly how you carry out a mock audition will affect what kind of performance benefit you see from it. today’s video is about 3 of the most common mistakes that i see musicians make in mocks.
and why taking fewer auditions, not more, can work.
sometimes it takes an odd strategy to prepare and win one of the biggest timpani auditions on earth.
a truly devastating audition can lead to a truly meaningful audition pivot.
what gives you a better shot of passing the tape round of an audition: sending in an all-natural, unedited tape, or doing some editing and submitting an artificially enhanced tape? and if you do edit your audition tape, is it cheating?
did you know that 12-year-olds in new york city prepare for a test more methodically than most musicians prepare for professional auditions?
our brand new one-week mini-course is live. here’s the entire first training video, called 'how to make your audition preparation plan.’
attending orchestra concerts is something that, over a period of years, can transform the way you speak the language of music.
the only way to earn a spot at the best conservatories and music schools is to start early, work hard and be super, unbelievably prepared at the audition.
guys… welcome back. the first auditionhacker video of the year is out today and it’s about how to restart your practice routine for the year.
our met season is starting TOMORROW, and i’m learning music to record for future videos. i need to practice smart so i don't suck too much.
i broke down the process into 3 steps so you clearly understand how to do it for yourself for this year.