Audition training

Auditioning for shows, studies, bands, plays and so on is often a challenging thing to do. But you can learn to do audition.

With the 120 tips from the Ebook (downloadlink on this page) you can prepare yourself perfectly. Lots of the tips are about an audition for musicaltheatre (shows and studies), but you can use them also for bands, presentations, job applications and so on.  

Examples of the 120 tips from the Ebook:

• Know everything from your song/aria/number/monologue: Where is it in the show? Who are you? What’s your purpose? What do you want to get done?
• Text and melody should be flawless and by heart. There should be an evolution in your piece, so the (musical) director can work with you.
• Prepare the route to the audition location. Rather an hour too early, than two minutes too late.
• You will spend a lot of time waiting for things to come. Save your energy. Don’t waste your time on chatting with everybody: your voice will get exhausted and you lose your energy. It’s not everyone’s desire to talk all the time with others. Respect that. Let them concentrate.
• Ill at the day of the audition? Voice rest: no talking! Especially no whispering, while the ‘wild air’ will dry out your vocal folds. Try humming or making light glissando’s on the ‘ng’ from ‘ing’ to sooth your voice.
• Never lie in your resumé: this can (and will) be used against you.
• Be prepared for questions as: “You may choose what number you want to sing”, or “Do you have something else than your prepared songs?”.
• Be flexible and cooperative. Try to follow the guidance of the jury precisely, so they see that they can work with you. This is especially true for auditions for a specific education. Don’t discuss.
• The accompanist is your biggest friend. This man/woman can save or destroy your audition. Take your time to explain what you want with your piece (style, tempo, cuts). Sheetmusic should be glued or in a folder/book.
• Don’t lock your knees in order to stand ready. You won’t feel your feet anymore, and you’ll “loose ground”.
• A rejection doesn’t say you don’t have talent. You may not ‘fit in the picture’ or the vision of a band or education. You can ask feedback if possible, and work on your points of improvement. Most professionals get more rejections then acceptations. It’s just ‘part of the job’.