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Say you're preparing for some American orchestra audition... Do you listen to old recordings of that orchestra and take their tempos, even though there is a new conductor? Do you use the tempo of your favorite recording? Also, how loud do you play? The audition committee most likely consists of at least one non-brass player. Shall I play solo volume or play as if I'm sitting in the orchestra? I would appreciate any input on this, thanks.

You will drive yourself crazy trying to figure out "what the committee is listening for." There's simply no way to know for sure. On a positive note, the issues you bring up rarely come in to play until the finals. If you play with excellent pitch, rhythm, and have a solid, steady tempo that doesn't fluctuate all over the place, you are likely to advance. I haven't done a great deal of orchestral auditions; but, in the ones I have, it's painfully obvious in the early rounds who should be advanced. Usually, the issue is maintaining a steady tempo. Interpretation is more important in the later rounds.

Above all, play with confidence...let the committee know that you have studied the excerpts and this is how you interpret them. With almost no exceptions, play exactly what's on the page...you may often find that playing the tuba part removed from the orchestra is a different challenge than playing it with the orchestra. You will need to over-do dynamic changes a bit just to show you know they are there (and to demonstrate you can play with a good sound over a wide dynamic range).

As to tempo, I wouldn't try to simply reproduce what you have heard from previous recordings of a particular group. Rather, it would be a good idea to listen to a wide variety of interpretations from different orchestras and shoot for the middle. Really, the tempo won't be a huge deal unless you're way too slow or way too fast. Don't attempt to "dazzle" the committee with a very fast tempo on Till Eulenspiegels lustige Streiche, for example...they won't care and brilliant fingers will rarely win you a tuba audition. Be precise instead, with a reasonable tempo. Again, keeping a steady tempo is much more important than the one you choose.

I hope that helps a bit...I hope some others with more audition experience than me will contribute. Maybe there is a secret out there that I don't know about...after all, I do sell auto parts for a living.

It's a good idea to listen to recordings but you have to be able to play the excerpt at any tempo. In the first round, they probably don't care what tempo you're playing as long as it is within a range of acceptability. That's where your listening to recordings will guide you.

However, should you make it to further rounds, you may be asked to play something much slower or much faster than your "regular" tempo. You may also be asked to "play it again, but softer" or louder. That's what you have to be ready for... and that's what committee's/conductors often look for, a musician who isn't limited to one way of doing things.

There's nothing like working out the breathing on the Prokofieff 5th only to have the conductor count it off 20% slower.

A trombonist friend of mine was asked to play something more "femine." I'm not sure what I would have done with that.

Alan Baer wrote a great article on audition prep. Maybe someone can point to it.

This isn't by Alan, but it is about auditioning:
http://www.jsonline.com/story/index.aspx?id=200413" target="_blank
Bill

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