First classical audition and changing embouchure during audition?

[ttf_anonymous]

So I've got an audition in about 2 weeks and I have to play two 2 octave scales,the hungarian march and scheherazade excerpts and I chose to perform Fantastic Polka without the presto part as a solo. This is my first classical audition and I'd like to know what to pay special attention to. Also, I play on a new yamaha 51 mouthpiece and its only been 2-3 weeks since I have it and I still cant get my normal range on it (high D) but my sound is way more round and I need the high C for Fantastic Polka so I was wondering if it would be okay to change my mouthpiece to my old 12C for the solo and do the rest on my Yamaha 51.
Thanks!

[ttf_bigbassbone1]

I think the panel would be looking for more important things than if you get the high C in fantastic polka. I wouldn't worry about it. I would focus on keeping all the music perfectly in time and make sure everything is in tune. If you do those two things it will be much more impressive than making sure you get a high c by swapping mouthpieces.

[ttf_samytrombone]

Quote from: bigbassbone1 on Aug 27, 2016, 05:03PMI would focus on keeping all the music perfectly in time and make sure everything is in tune. If you do those two things it will be much more impressive than making sure you get a high c by swapping mouthpieces.
For the scales and the excerpts, I totally agree, but should everything in a solo be perfectly in time? Like most interprets won't play ALL the rhythms as written, to give their own twist on it, so should I forget about that and practice the solo with a metronome?

[ttf_BGuttman]

Be careful about being too rubato with the solo.  There are some dead giveaways that you really don't know it.  Things like slowing down for the fast parts and speeding up for the slow ones.  Also, I'll bet you haven't developed the "taste" to know what rubato is appropriate and what is not.  In your shoes I'd try to make the performance as clean as possible and no "schmaltz".  If it says rit, slowdown.  If it says accel, speed up.  But no subitos (unless written).

[ttf_samytrombone]

Quote from: BGuttman on Aug 27, 2016, 06:26PMBe careful about being too rubato with the solo.  There are some dead giveaways that you really don't know it.  Things like slowing down for the fast parts and speeding up for the slow ones.  Also, I'll bet you haven't developed the "taste" to know what rubato is appropriate and what is not.  In your shoes I'd try to make the performance as clean as possible and no "schmaltz".  If it says rit, slowdown.  If it says accel, speed up.  But no subitos (unless written).
Oh never something like that! Articulation, specific tempo markings (omitting precise rhythm markings) and dynamics are something I never try to change! I'm talking about maybe not playing the exact value of each note to make it ring more or give my own shapes to it and I try to not add anything that might be out of good taste, my version is loosely based off of Alain Trudel's recording of the piece. Would that be okay?

[ttf_BGuttman]

You  may think it's good, but will the auditors?  Run your interpretation past somebody who will be able to see if it will pass muster.  When you are as famous as Alain Trudel you can do all the monkeying with the piece you want.  But you are still a kid and need to impress the auditors.

[ttf_bigbassbone1]

Whilst you can be human and add SUBTLE signatures to what you are playing for a audition commitee, really, they are honestly mostly going to be assessing how well you play in time and in tune, even on your solo works. I was discussing with Michael Muchahy some weeks ago about audition preparation and i think he had sone great advice, but he did say (im paraphrasing, but these words were used) that really an audtion is a cold and "sterile" process. An audition is about how well you are going to be able to play with other people. If you add lots of unwritten "musical" ideas into what you play, it just says that you might be difficult or unpredictable to play with in a section.

For a solo recital i think that exploring ways to musically enhance your pieces is a great idea! But again, an audition is a totally different story. You are not a robot, but playing in a section is about whats WRITTEN on the music, not your personal ideas that YOU believe enhance what the composer has directed you to do.

[ttf_samytrombone]

Quote from: bigbassbone1 on Aug 27, 2016, 08:44PMWhilst you can be human and add SUBTLE signatures to what you are playing for a audition commitee, really, they are honestly mostly going to be assessing how well you play in time and in tune, even on your solo works. I was discussing with Michael Muchahy some weeks ago about audition preparation and i think he had sone great advice, but he did say (im paraphrasing, but these words were used) that really an audtion is a cold and "sterile" process. An audition is about how well you are going to be able to play with other people. If you add lots of unwritten "musical" ideas into what you play, it just says that you might be difficult or unpredictable to play with in a section.

For a solo recital i think that exploring ways to musically enhance your pieces is a great idea! But again, an audition is a totally different story. You are not a robot, but playing in a section is about whats WRITTEN on the music, not your personal ideas that YOU believe enhance what the composer has directed you to do.
But there's a sight reading test during the audition, so perhaps that will cover it? (Sorry, I'm really clingy to my interpretation ) But thanks so much for that advice, I never really looked at it that way.

[ttf_bigbassbone1]

Yes, well you will know best. If you are convinced your interpretation will add something to the music that the panel will appreciate then you can do it, it just seems like an unnecessary risk to take, especially if its an audition you really want to win.

Sightreading is a slightly different area... of course those skills are important when doing it but there are other aspects the panel will look for. Also, time an intonation are not things to tick off, or "cover" in only one area of the audition.

I dont know how much of your "interpretation" you will be adding to your piece, so good luck, but be aware there are some who find it, for lack of a better word, disrespectful to assume that your ideas are an improvement to what the composer has written.

[ttf_BGuttman]

I think BigBass and I are coming from the same direction.  This is an audition.  Do you want to win it?  Sometimes you have to do different things to win auditions than you might do if you were doing a recital or playing for your own enjoyment.

[ttf_JWykell]

I realize this is an old thread, but I wanted to add my 2 cents cause, ya know, this is a forum, we read and we comment.

I agree that in an audition you might not want to be at your most creative. However the op was on a timeline. I remember my middle and high school auditions. I think changing my interpretation from one I was confident in to one I was not would have been a mistake unless I knew the piece inside and out (like from memory in my sleep). I think feeling confident about what you are playing can go a long way. Nothing sounds worse than uncertainty, well other than bagpipes. 

[ttf_JWykell]

I realize this is an old thread, but I wanted to add my 2 cents cause, ya know, this is a forum, we read and we comment.

I agree that in an audition you might not want to be at your most creative. However the op was on a timeline. I remember my middle and high school auditions. I think changing my interpretation from one I was confident in to one I was not would have been a mistake unless I knew the piece inside and out (like from memory in my sleep). I think feeling confident about what you are playing can go a long way. Nothing sounds worse than uncertainty, well other than bagpipes.