First, always give your accompanist good musical scores. Originals are best and often required for auditions and competitions. If you must make copies, be sure not to cut off part of the accompaniment.
For your audition “package,” it is customary to make front-to-back copies and place them in a black binder. Some people use tabs to help locate the song or aria, or place a list at the beginning of the music. In NO case should you use plastic covers or staples: think of glare and injured fingers!
Cleanly indicate in bold black marker any cuts, or important changes in tempo or dynamics. If a score includes several cuts or other changes, it is wise to take a moment in an audition to speak with the accompanist.
In auditions, if the accompanist starts your piece too slowly or too quickly, simply ask the adjudicators to allow you to start again. Turn to the accompanist and give him or her your tempo by quietly singing a few bars or conducting. Never snap your fingers (it is rude) or in any way blame the accompanist. Very often, the accompanist provided for the audition turns out to be the music director of the company! When your audition is finished, always thank the accompanist.
If you can find an accompanist with whom you like to work and can build a relationship, you are fortunate, indeed. Whenever possible, use your regular accompanist for auditions. You have worked together, you have felt the ebb and flow in the music together, and this will give you an edge.
Always treat your accompanist like the gold mine she or he is: being respectful of time and deadlines, paying on time or in advance, giving him or her difficult music in advance of a rehearsal.
If there are problems in rehearsal, be aware of how you phrase concerns. The best professionals take on the blame, such as: “We didn’t seem to be together in those last two phrases. Did I count it wrong?”
Being flexible and open to correction is not the same thing, however, as being compliant. Some singers act as if ensemble work involves just repeating what they did alone, while others are so eager to measure up that they abandon themselves and their ideas in the pursuit of gaining acceptance. Neither approach is fruitful. An ensemble is best made up of strong individuals who will both give and take. If you have a strong feeling about the interpretation of a piece, talk about it. Be ready to give and take—but if it comes down to a match of wills, perhaps it is time for a different accompanist.
Vocal coaches are underpaid geniuses. In comparison with instrumental music, vocal music has so many more unwritten traditions and variations from the printed page. A coach can help you understand these traditions and what conductors may be looking for in a particular piece. Coaches are often experts at languages, interpretation and helping the singer understand the larger sweep of a piece.
Try coaching with people who have different specialties. You will find some who specialize in oratorio, others in opera, cabaret music or musical theatre, and some who enjoy recital work. Working with a coach who is also a conductor helps in many ways. He or she is out there in the field, knows what orchestras, choruses or stage companies are looking for and is usually abreast of auditions and other developments. Often when such a coach-conductor sees that a singer they coach is open to direction, works hard, continues to grow and acts in a professional manner, they hire that singer.
Enjoy your collaborative music-making.
