Happy August, Your Audition Season!
For many choristers, there is no more hated phrase than “it’s time to sign up for your annual audition!” One can react to this event in a variety of ways, from “It’s helpful to see how my voice is improving” to “This is for the good of the order to improve the chorus” to “OMG, I will do anything to avoid this!” (In a prior chorus we offered a re-audition pass as an item on the annual chorus fund-raising gala – it sold out within minutes…!).
For singers with extensive skills and experience re-auditions are of no concern, but to those who wish to improve their chances for success here are some pointers. (Additional online resources are listed at the end of this article.)
First step: Understand what a re-audition is. It’s an annual process, often established by the ensemble or granting agency requirements,* to help build the chorus where everyone, especially the directors, accompanists, and assistants, really want you to perform well and succeed!
What to expect: Treat your audition like a job interview. Get ready to make a strong impression.
In advance: Research your ensemble by checking their season on websites and follow audition directions closely while making sure you can commit to the rehearsal and performance schedule.
Choose your audition material: Pick good repertoire that is well suited to your vocal range, technique, and strengths. It’s not important to sing the hardest piece if it’s difficult for you and creates a chance of not showing your voice well. Better to pick something simpler and know it “forward and backward,” internalizing it so you won’t be stressed by memorization or other technical difficulties.
If the work is accompanied, make sure the music is readable and any articulations such as a ritardando are clearly marked. Present it to the accompanist and point out any unusual features such as a repeat to help your audition be more successful. Be prepared to give the accompanist the tempo you want.
Preparation: Good preparation for your audition will greatly reduce your stress. Sing regularly, if possible every day, in preparation. Warm up the voice gently, expanding your range and ability to sing long lyric lines but also faster scales and other techniques. In general, solo vocal quality is desired, but choirs also seek a relaxed, free sound in all registers using tone that blends well with others, supported by good posture and breath control. If you have the opportunity, take some lessons if it’s been a while. Seek a kind pedagogue who has a good reputation for preparing choristers with positive feedback and solid technique. You can also video yourself or sing in front of a mirror for your own feedback, noting any tension or posture points you want to improve before your audition.
Sight reading: Sight reading is often required, so embrace it, don’t stress about it. Get access to a piano or buy an E-keyboard and play daily, as it’s the best way to improve. Even if you are playing only your own line slowly with one hand, this locks in the ability to sight read. It’s like learning a new verbal language: the best way you really improve is to study it and practice regularly.
Remember that you only have to be able to sight read within your own vocal range, not the whole range of a piano. Most vocal lines are within the range of an octave and a half, occasionally more, but often less (hymns, folk songs, carols are often only 6 pitches in range, so begin with those). For further study, a quick Google search brings up many free online tutorials to improve sight reading.
A week before your appointment: Run your own “mock audition” daily in the sequence it occurs (vocalization to check range, prepared piece, sight reading) so that you can keep your cool and not have a panic attack. (I had a singer confess her “knees were shaking” even after singing in choir for nine years). Practice calm and deep breaths.
Reminders for “the day of:”
· Give yourself plenty of time to get to the audition and be relaxed.
· Wear professional clothing, and leave perfume and other strong scents out.
· Be friendly as you meet the folks who organize the audition. Remember the accompanist and directors are all there to support, not judge you.
· If you are tested within a quartet, listen carefully and blend with others, in perfect time–better to miss a note or a lyric than to delay a beat. A missed note or a lyric is rarely heard within the group, but rhythmic mistakes or texts sung at a different time always stick out.
Enjoy the process and let your light shine–make sure your skills match what is sought within the ensemble.
As anyone who goes through the process will tell you, it’s possible you might not get the part you seek. Take the news with grace and reflect on what you did well, what could have gone better, and what you can do the next time to brighten your chances for success. If you can, seek feedback on how to improve for future auditions. If it’s not your day, it’s not the end of the world. There are lots of opportunities for singers where auditions are not needed, so sing in another ensemble to build your sight singing skills or whatever other techniques were needed for success with the original group and try again!
You’ve got this! Congratulations on your next successful, stress-free audition!
*Annual auditions are often required by the National Endowment for the Arts or other foundations that give grants to the organizations.
Some Sources for Vocal Development
Vocal Aerobics – handbook of a 40-week curriculum of choral singing including vocal technique, sight reading, more. Link
200 Vocal Warmup Exercises for Chorus and Solo Singers, German author and method. Link
Singer scale and triad exercises using Solfege (fixed Do). Link
Sight reading exercises, scales: Free Printable. Link
Sight singing series of many videos by Saher Galt. Link
A sight reading course list that is quite inclusive. $30 for 20 course sessions. Link
Solfege with Singer and Curwen hand signals. Link
Image credit: cottonbro studio, https://www.pexels.com/search/opera%20singer/