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Exams, Competitions and Auditions

Last Updated (Wednesday, 14 May 2008 08:24)
Written by Roger Bobo
Sunday, 03 February 2008 15:53

Articles - Pedagogical articles

In the study of music the final goal is performance; all the months, weeks, days and hours of work are focused ultimately on a performance probably only lasting a few minutes. So of course, when we prepare for an exam, competition, or -- the prize accomplishment of all -- a position in a paying ensemble, we want to concentrate all our energies on the preparations for those very important moments when we will be judged.

Naturally, my teaching enrollment is always significantly larger during those times of pending exams, auditions and competitions, and it’s always a pleasure for me to have a guiding role in those preparations. However, there is a frequent problem and the solution is not always what the players want to hear!

It’s only normal for a player, especially a younger player, to want to concentrate 100% on their preparation work. But here is the information that is sometimes difficult to understand: we need a well-rounded diet of styles to play our best even if the repertoire in preparation doesn’t require all those skills. No piece of music covers all aspects of playing and the study of only one or two works or a limited style of works will not maintain our general playing at its best. When we limit the styles we play, frequently there is an audible deterioration in performance quality. This causes anxiety for the player, which generates further deterioration. Working only on a few solo pieces or orchestra passages for a long period of time, quite simply, is not enough to maintain that fine edge of instrumental control required for the superb musical performance necessary to be a winner! This is particularly prevalent among very enthusiastic younger players who try to practice the repertoire of their pending project exclusively.

As a teacher I always enjoy working on the musical aspects of preparation; but in doing so it becomes evident that there is also a need to work on the many more basic aspects of playing. Many times I have wished that those same students would come to me at a time when there is no exam, competition or audition pending. A well thought-out warmup, some work in legato, marcato, and technique other than the exam, audition or competition material will have an audibly beneficial effect on our level of performance. (Please read A Diet For Brass at rogerbobo.com, bomaestro.blogspot.com or TubaNews.com).

Finding the right balance in our daily skill development and maintenance program differs from person to person. If we remember that the greatest singers vocalize, dancers do a bar and athletes do stretching before an event, deductive reasoning (and experience) tells us brass players need to take the same care.

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