Your senior year has finally arrived. You have researched and perhaps visited several colleges, universities and conservatories of music. You have selected three or four institutions that are of interest to you, and are completing application forms, writing essays, and studying for upcoming SAT and ACT exams. For any music student, however, the most important element of the college application is the entrance audition. What should you expect? How do you prepare? What do you wear? Here are some guidelines to assist you in preparation for this important performance.
Written Application
Your entrance audition can be divided into three elements: your application, your performance, and your interview. Completing your application well ahead of the designated deadline will eliminate a lot of stress. Be sure all paperwork is submitted and that the auditioners have received all letters of recommendation prior to the date of your audition.
It is customary for the audition committee to have your file on hand and the members may view it during your audition. Do not let this disturb or distract you! They are listening very carefully and taking notes on your performance. The application file gives the committee additional information about you and your musical background. Combined with the entrance audition, it provides a complete profile of each singer. Without it, the committee cannot make a totally informed decision. This is particularly important in scholarship deliberations.
Performance
Repertoire Selection:
Repertoire requirements vary with each institution, so be sure the selections you present meet the stated requirements. Be prepared to sing only the number of songs requested. This ensures that everyone gets an equal and fair hearing.
Choose your repertoire carefully to highlight the unique qualities of your voice, your range, and your personality. A simple song—well sung and performed with careful attention to tone quality, nuance, and understanding of the text—creates a much stronger impression than a difficult song or aria that exposes technical insecurities.
If you sing a song or aria in a foreign language, work with your teacher or a language coach to perfect the diction. Pronouncing words incorrectly does not create a favorable impression with any audition committee. Also, it is not enough to have a vague idea of what is being expressed through the text. Know word for word what you are singing. The following websites may be useful for accurate translations: www.recmusic.org and www.ipasource.com.
For every song you present in your audition, you should be able to answer the following questions:
• Who is singing this song/aria? (What character?)
• What is happening in this song?
• Where is it being sung? (Set the scene, the geographical location. If it is part of a larger work, where does it take place?)
• When is it being sung? (What historical period? At what dramatic point in the larger work?)
• Why is it being sung?
This last question gives the motivation for the song. How do you hope to influence your listeners with this song? What is so important about the meaning and emotion of the text that you must share it with the audience (in this case, the audition committee)?
Spending some time pondering these questions guarantees a more committed and passionate performance.
Style:
The tone quality required for classical singing differs significantly from non-classical vocal styles. No one wants to hear a jazz selection sung like an opera aria, and the reverse is equally true. Often, students who have sung a lot of popular music or musical theatre forget this differentiation when singing classical art songs for an entrance audition. Work with your teacher or vocal coach on this difference in style, and be sure to listen to recordings of classical singers to get the correct tonal image in your mind and ear.
Collaborative Pianists:
The accompanist is a critical element of your audition. Schools of music usually offer accompanists free of charge to students who are auditioning. You also may have the option of bringing your own pianist. This may be a good idea—if the cost of doing so is not prohibitive, and if the pianist you are using is as highly skilled musically and technically as the pianist the educational institution offers. If a staff accompanist from the school will be accompanying you, be sure to include with your application copies of your music or song titles and the keys in which you will be singing.
The college should allow a short rehearsal period before your audition to set tempi and meet your pianist. Be sure to inquire about accompanist policies and procedures at the time of your application to the school so you can avoid unpleasant surprises on the day of the audition. The director of admissions or vocal division chair at most institutions can provide you with this information.
When you enter the audition room, greet the committee with a smile and simple “good morning” or “good afternoon.” This greeting, spoken with honest enthusiasm, lets the committee know you are poised, confident and looking forward to singing for them. Do not be casual or familiar; be sincere, warm and friendly. The faculty should have your application file before them, but introduce yourself and the title of your song simply: “ My name is ____________ and I will begin with _____________.” If the accompanist is playing a grand piano, stand in the curve of the instrument. If the piano is an upright, be sure to stand where your pianist can see you easily. Work these logistics out with him or her ahead of time. After your audition, thank the committee and give them another smile before leaving the room.
Sight-Reading:
Be prepared to sight-read. If you are weak in this skill, start practicing it now! The audition committee needs to know that you are capable of learning new repertoire on your own. This is your opportunity to demonstrate your skill in this area. If you are an inexperienced or fearful sight-reader, it may be well worth your time and effort to work with a tutor, teacher or computer program (Practica Musica is one of many on the market) to assist you in strengthening your reading skills.
Appropriate Attire:
Your performance attire should highlight you, your face, eyes and voice. It should never draw attention to itself rather than your performance. Avoid clothes that are trendy, gaudy, have large bold patterns, are poorly fitted, or wrinkled. Short skirts draw attention to a lady’s legs rather than her face, eyes and voice. Likewise all jewelry (except for ladies earrings) should be removed from your face, and your hair needs to be neatly styled: off your face and a natural color.
Most of you who are reading this article will be auditioning for schools that teach classical singing. Your attire for an entrance audition also should be “classic.” Dictionary definitions of this word include “characterized by simple, tailored lines in fashion year after year,” and “basic and fundamental.” You don’t need to wear black for an audition, but if you do, accessorize with a pair of elegant earrings, a necklace, or a brightly colored scarf.
Long dresses are usually reserved for formal evening performances. An elegant pantsuit with a jacket in a solid color is also an appropriate option for an entrance audition. Casual clothes (blue jeans) are a definite no-no. Ladies should wear a pair of pumps with a heel of comfortable height. (Remember that your posture affects your voice!) Avoid open-toed sandals or boots with thick heavy heels.
For gentlemen, I would suggest a well-fitted suit and matched (or contrasting) tie. Be sure your shoes are polished and your shirt pressed. A pair of dress slacks, dress shirt, tie and sweater in coordinated colors also looks sharp. Again, your attire must draw attention to you, not to itself. Additional guidelines for performance attire can be found in Shirley Emmons’ excellent book, The Art of the Song Recital.
Interviews
Some institutions have formal interviews with potential students; others do not. It is best to check with the admissions director or vocal division chair of the institution where you plan to audition. Your audition may be followed by a brief, informal conversation with members of the audition committee.
At the university where I teach, students have the option to contact members of the voice faculty in advance of the entrance audition for a “consultation lesson.” This brief meeting allows potential students the opportunity to meet with a professor, ask questions about the voice faculty and the vocal program and, if desired, to get feedback on the performance of their audition repertoire prior to the audition itself.
Vocal students desiring a degree in music education must answer a set of written questions submitted with their applications. On the day of the entrance auditions, they also have individual interviews with members of the music education faculty. Questions posed to potential candidates include: Why have you chosen music education as a career option? What individual(s) has been a major influence on your decision to become a music educator? What are the most important personal attributes you bring to your music?
These same questions could easily be modified to make appropriate interview questions for vocal performance majors. Give them some thought.
Finally, it is important to know that the members of the audition committee want you to succeed! They are on your side and want to hear from you the most exciting, joyful performance possible for your stage of growth and development. No audition committee is looking for perfection, but for a demonstration of fine preparation and vocal potential. Audition committees want you and your singing to move them. So enjoy this time of preparation for your entrance audition.
