jpetrocelli

For a simulation of the audition experience, try this: stand by a bus stop. Step out into the street as the bus approaches. Stay in its path until it is about ten feet away. Jump back to the curb!! This will give the tremendous rush of adrenalin, similar to what one experiences at auditions. Try at your own risk; the author claims no responsibility or liability.

That said, there are still going to be trumpet players who will want to audition "for the experience." Why? Probably it is because of the belief that only participation in the real thing will help in overcoming audition anxiety.

Anxiety (or as it is known by its other names: stage fright, performance nerves, etc.) will manifest itself in auditions more so than in "normal" performances-such as rehearsals or concerts. An audition is the ultimate anxiety-raising situation that we have to cope with. One's credentials are being examined, tested, challenged, and ultimately judged. The future is at stake. One's reputation is on the line. It is a kind of competition, a contest; one must 'prove' oneself in a highly competitive context where one is compared to other candidates.

It is necessary, in everyday practice that the player develops the skills for countering (learning the antidotes for) the side effects of anxiety. It is too late to deal with the anxiety at an actual audition. The effects of anxiety must first be understood in general. Anxiety is a type of fear often described through expressions like "to have a knot in one's stomach." This is not just an expression. If anxiety is not dealt with and dissipated, it will be somatized. That is, the anxiety will be pushed into the muscles, making one tense. The muscles of the stomach and abdomen do indeed contract (forming a knot).

There are basically two types of anxiety: (1) Chronic, which everyone has in one degree or another and which is sort of inherited from one's family; and (2) Acute, which is what is experienced when there is a real threat. Regardless of which type of anxiety, the body (and mind) will react in the same way. It is sometimes referred to "flight or fight syndrome." The first thing that happens when the anxiety level increases, is that the breathing becomes inhibited.

Indeed, anxiety can cause one to almost stop breathing, which in turn, will raise the anxiety level. In addition to the negative effect on breathing, anxiety can cause the heart and pulse rate to increase dramatically, blood pressure to rise, palms to begin to perspire, the mouth to become dry or the saliva to become 'ropey.'

So what to do? Most trumpet players have a tendency to not inhale nearly enough on a regular basis. Some people advise: "Only take in the amount of air you need." The implication is to inhale according to the length of a passage to be played. However, the length of tubing in the instrument in which the air column must be set into vibration, is the same-no matter whether one note or many measures must be played. There is also a tendency to inhale less when the dynamic is soft.

It is often overlooked (or not even learned or acknowledged) that the body--and brain-also requires oxygen to function efficiently, so it's even more important to inhale to the maximum potential.) It has been said that taking in too much air will make one tight. In fact, it can make one aware of how tight they already are. So it is necessary to get rid of (or minimize) the tension. This can only be achieved by focusing on inhaling on a regular, daily basis. It's too late to suddenly think about this at an audition.

Air is the raw material out of which sound is created. The function of the lips (embouchure) is to make the air in the instrument vibrate at the appropriate frequency to play the notes required. If the player inhales insufficiently, it will result in too much velocity in expelling the air (playing). This will result in notes not speaking or missing the notes or having too much intensity (which will result in incorrect or inappropriate dynamics.) When a note doesn't speak, the trumpet player will usually interpret this as "the lips not vibrating." What is actually happening is that the air is moving too fast for the lips to make the air in the trumpet vibrate at the appropriate speed, resulting in the appropriate note. So when anxiety compounds the already neglected inhalation, because of added tightness, one does not (indeed, cannot) play at the level required.

When practicing in general, not necessarily for an "audition," it is important to never try to play anything exactly the same way twice. (In the first place, it's impossible, and the second place, why would anyone want to?) If the musician (trumpet player) would spend time analyzing the music, rather than analyzing one's "mechanics," much more knowledge would be gained and one's performance skills would be enhanced. One is obligated to play the same notes, same rhythms, (but not necessarily the same tempi), but one should always try to do something different with nuance, inflection, phrasing, dynamics, and timbre, within the context of what the composer has written. Even when practicing scales and arpeggios, attention must be given to rhythm, intonation, articulation, inflection and dynamics. If one learns to practice this way, using the imagination, there will be a several fringe benefits: (1) Practicing will become more enjoyable, and (2) keeping the conscious mind occupied with something other than being judgmental, the anxiety level will more likely be lowered, and (3) in this way, not only consistency (accuracy) will be achieved, but when this approach is used when preparing for an audition, the performance will sound more creative, spontaneous, and "fresh." And best of all, there will be many "choices" for the actual performance. This applies not only to etudes, but also to solos and orchestral repertoire.

If this approach to practicing is pursued, then it can be applied to repertoire for auditioning purposes and performing in general. The focus will be on making music, not just on "not missing" any notes.

After acquiring all the necessary 'skills,' i.e., proficiency on the instrument, audition experience, handling anxiety, presenting one's musicianly credentials in the best possible manner, then what? There is always luck! I played auditions that I thought were terrific, but I didn't win the auditions. There were auditions when I thought I didn't stand a chance because of how terribly I had played, and I got the job! So if someone says to you, "Good luck on the audition," by all means accept it.