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.

Jhorn229h

Sorry - I don't think I'll be trying the "bus stop" stunt anytime soon!

J

Bugleboy21

How about driving down the streets of Baghdad on the way to a gig for troops: :p hehe

Larry Dean

rowuk

Interesting thread!
Still, what do we do about anxiety?
I think some of the points are not accurate. Trumpet hardware is metal and therefore relatively constant. The "resistance" of the horn allow us to dispell air while playing (we need fresh air at regular intervals to stay alive). This is faily critical - too much resistance and we can't get rid of the air, too little and we can't phrase properly. Both situations would limit our capability to deal with anxiety during playing. Hardware decisions need to be solved well before the audition (be careful when using a cornet or rotary valved trumpet borrowed for an audition). Solid practice of the "mechanics" (breathing, basic tone production, range, speed, endurance) gives us room for error in judgement/anxiety as well as a sound basis for concentrating on making music while playing.
I try to deal with anxiety BEFORE putting the horn to my face. Yoga is one very good way. Train wrecks can't really be practiced, so experience and luck are important here. Having enough air can solve many of the problems experienced by brass players. Using the air sensibly can increase our margin of security.
This could turn out to be a book so I'll stop here........................

cmcdougall

Haha, I'll let you tell Charlie Schlueter that he isn't accurate, he was only the principal of the BSO for a quarter century, no big deal.

rowuk

?
where do you see a dicrepancy? I remember reading that Dave Monette even altered the efficiency of Charlie Schlueters' horn to optimise the blow.
The length of the tubing has no direct relation to the amount of air used or required (trombone phrases are not "shorter" than trumpet phrases). The resistance by design of the horn and mouthpiece does.
Sound is air particles vibrating back and forth and the individual air particles that we expel through the horn do not themselves travel at the speed of sound to our audience. They bump into the particles already in the room and this bumping continues thus transmitting the sound.
The main point of resistance is to allow enough air to pass so that we can breath at comfortable intervals. This feeling is somewhat individual and makes it dangerous to take a borrowed instrument to an audition.
Where do I have an accuracy problem here?

B15M

[quote=rowuk;268515]Interesting thread!
Still, what do we do about anxiety?
I think some of the points are not accurate. quote]


Specifically, What did Charlie say that you don't agree with. I would like you to quote him and then state what is wrong.

Just for me so I get it right.

rowuk

here are the points that I think are not accurate:
1) "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."
The length and volume of the horn have no direct correlation to the amount of air needed. If this were true, larger brass instruments wouldn need larger lungs (than trumpet players) to work properly.

2) "If the player inhales insufficiently, it will result in too much velocity in expelling the air (playing)."
This means even after a big breath, half way into the phrase(where half of my air is gone) my velocity will go up and everything gets messed up. This is simply not true.
Velocity of the air is dependent on the resistance of the horn, the position of the tongue, teeth and lips (aperature) not the volume in my lungs. If I do not have enough air, certain muscles have to contract to get the required air velocity - this will make playing more work. This is a completely different "problem".
I am not criticising the need for that "big breath". Air is the #1,2 and 3 issue for brass players.
Incorrect use of air-too much or too little will increase tension. Understanding the "mechanics" and proper practice will minimize this tension. I don't know how often I have played phrases where I couldn't get rid of my air and had to take another breath without completely exhaling first-what a suffocating feeling.

3) "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."
In my humble opinion, only the naturally gifted can get away without analyzing the mechanics. Most of my work teaching, most of the posts on this great forum are about the mechanics. Charlie ist gifted, his students are gifted, many of us out here are not at least not to that degree - we may need a different balance.

People auditioning are often sorted out from the very beginning because of problems with the mechanics before their musical skills can even be shown. On the other hand, I am sure that there are many successful professional trumpet players that have overcome extreme mechanical handicaps by addressing them. I'd like to hear how they have solved their problems.

Dealing with stress and anxiety are key to being able to show what you are capable of during an audition. Insufficient air control is a major factor as could be blood pressure, inferiority complex, inadequate preparation, lack of experience, hostile jury or one of many other things. If one prepares properly, air does not have to be in that list of "problems".

The list of Charlies' successful students shows how good he is - I think his 2-pager does not do his system justice.

Sorry for the long post.

B15M

rowuk

Thanks for the open mind!
There is nothing subjective about having enough air. Charlie is right that this is probably the #1 problem for trumpet players.
For someone at an audition for something really important in his life, air should have been dealt with earlier and not really on the list of things that could go wrong - regardless of concept.