Hi again!
You may have noticed the huge gap between my last post and this one. For someone who promised to post a video once a week and blog at least once as well, I've been slacking big time. For good reason (maybe).
For those who want to know, it is HARD to record in my house. The only place where I can get some peace and quiet (away from my 3, VERY loud, parrots) is upstairs in my parent's bedroom. However, since this is an attic, it is very warm in the Ohio summer. By very warm, I mean 85+ degrees on a daily basis.
Until it cools down, I'll continue to try to blog a few times a week.
Sorry for the short post, but it's late and I'm tired! I'll try to blog tomorrow, for sure.
Sunday, July 24, 2011
Monday, July 11, 2011
How do I structure my auditions binder?
I had a few friends ask me how I've set up my auditions binder, so I thought I'd just walk everyone through what I include in my (constantly-growing) auditions binder.
What is it, exactly?
I realise I haven't really explained what this binder is yet, so let me start there. Musicians who plan on auditioning for an orchestra at some point in their lives have to play excerpts from standard orchestral music. My audition binder is basically a compilation of everything I need for an audition, all put in one place.
The organization
I've put all of my excerpts, solos, and lists into a binder. I have several tabbed page dividers--Lists, Flute Solos, Picc. Solos, Flute Excerpts, Piccolo Excerpts, and Sight Reading. This basically covers my basis as far as an audition is concerned. It's rare to see piccolo solos on an audition list, but I've thrown in a few etudes and the Vivaldi Concerto just in case.
Lists
When I say "lists" I am referring to audition repertoire lists. You can find these on the internet by doing a google search for auditions. Most auditions postings include a list of what you are expected to play at the audition--some even include sheet music. I've searched the internet and pulled up several of these lists for the larger orchestras--Boston Symphony, New York Philharmonic, etc. I've then printed them off and put them into my binder. I use these lists as a reference point for what excerpts I should be working on. There are other sources, such as audition repertoire books and the like, but I've decided using the actual lists given to auditioners is a better option.
Included on these lists is solo repertoire for flute and piccolo (some break this down into preliminaries, round 1, round 2, finals, etc.). The lists also include what excerpts will be asked at the audition for flute and piccolo, as well as if sight reading will be asked. Pay close attention to special instructions, such as if the solos and excerpts must be memorized and be sure to find out the orchestras tuning (440, 441, and 442 are popular).
Flute Solos
This tab is pretty self explanatory. I have a few etudes located under this tab, mostly used to warm up at an audition. Then I have the Mozart Concerti in G major and D major, the most popular flute solo asked in an audition. I have also put in the Bach Partita in A Minor for solo flute, after seeing movements of it asked on a few lists.
Piccolo Solos
Another self explanatory tab. I've put in a few etudes I have used to warm up on picc, as well as the Vivaldi Piccolo Concerto. This is the only solo I've seen on audition lists for piccolo.
Flute/Piccolo Excerpts
After I learn an excerpt found on my audition lists, I place it under the appropriate tab in my binder. Several excerpts have multiple copies, including copies of the orchestral score and full part. This is important, as an auditioner you should know what the orchestra is doing under the excerpt you are playing. Even though you play alone in an audition you need to convince the audition committee that you are knowledgeable on the music.
Sight Reading
Many orchestras list sight reading on the audition list. Generally this is music from a standard orchestral piece. I've been collecting first and second flute parts off of IMSLP. If you are a musician and you are not familiar with IMSLP, you should definitely check it out. Go to http://imslp.org/, then Petrucci music library and look around. This website allows pieces to be uploaded as long as they are no longer under copyright (the law states that 70 years past the death of the composer a composition becomes public domain).
I realise this post was gigantic, so congrats to you if you made it through this whole thing. An audition binder is a work in progress, and since mine is so new it involves a lot of work to put it together. I hope that within a few years I will have conquered the excerpts on my lists, and will be able to go to an audition with little stress. My goal is to be able to reintroduce excerpts into my daily practice a few weeks before an audition and avoid a crash practice session.
What is it, exactly?
I realise I haven't really explained what this binder is yet, so let me start there. Musicians who plan on auditioning for an orchestra at some point in their lives have to play excerpts from standard orchestral music. My audition binder is basically a compilation of everything I need for an audition, all put in one place.
The organization
I've put all of my excerpts, solos, and lists into a binder. I have several tabbed page dividers--Lists, Flute Solos, Picc. Solos, Flute Excerpts, Piccolo Excerpts, and Sight Reading. This basically covers my basis as far as an audition is concerned. It's rare to see piccolo solos on an audition list, but I've thrown in a few etudes and the Vivaldi Concerto just in case.
Lists
When I say "lists" I am referring to audition repertoire lists. You can find these on the internet by doing a google search for auditions. Most auditions postings include a list of what you are expected to play at the audition--some even include sheet music. I've searched the internet and pulled up several of these lists for the larger orchestras--Boston Symphony, New York Philharmonic, etc. I've then printed them off and put them into my binder. I use these lists as a reference point for what excerpts I should be working on. There are other sources, such as audition repertoire books and the like, but I've decided using the actual lists given to auditioners is a better option.
Included on these lists is solo repertoire for flute and piccolo (some break this down into preliminaries, round 1, round 2, finals, etc.). The lists also include what excerpts will be asked at the audition for flute and piccolo, as well as if sight reading will be asked. Pay close attention to special instructions, such as if the solos and excerpts must be memorized and be sure to find out the orchestras tuning (440, 441, and 442 are popular).
Flute Solos
This tab is pretty self explanatory. I have a few etudes located under this tab, mostly used to warm up at an audition. Then I have the Mozart Concerti in G major and D major, the most popular flute solo asked in an audition. I have also put in the Bach Partita in A Minor for solo flute, after seeing movements of it asked on a few lists.
Piccolo Solos
Another self explanatory tab. I've put in a few etudes I have used to warm up on picc, as well as the Vivaldi Piccolo Concerto. This is the only solo I've seen on audition lists for piccolo.
Flute/Piccolo Excerpts
After I learn an excerpt found on my audition lists, I place it under the appropriate tab in my binder. Several excerpts have multiple copies, including copies of the orchestral score and full part. This is important, as an auditioner you should know what the orchestra is doing under the excerpt you are playing. Even though you play alone in an audition you need to convince the audition committee that you are knowledgeable on the music.
Sight Reading
Many orchestras list sight reading on the audition list. Generally this is music from a standard orchestral piece. I've been collecting first and second flute parts off of IMSLP. If you are a musician and you are not familiar with IMSLP, you should definitely check it out. Go to http://imslp.org/, then Petrucci music library and look around. This website allows pieces to be uploaded as long as they are no longer under copyright (the law states that 70 years past the death of the composer a composition becomes public domain).
I realise this post was gigantic, so congrats to you if you made it through this whole thing. An audition binder is a work in progress, and since mine is so new it involves a lot of work to put it together. I hope that within a few years I will have conquered the excerpts on my lists, and will be able to go to an audition with little stress. My goal is to be able to reintroduce excerpts into my daily practice a few weeks before an audition and avoid a crash practice session.
Friday, July 8, 2011
What to expect for next week's video
Hey guys!
So I didn't make a video this week. I've been trying to figure out how I want to structure everything and I think I've finally come up with a plan. I want to use this summer to really work on orchestral excerpts and get a start on the music I'll be playing at my recital in the fall. I will record one excerpt a week on piccolo and one excerpt a week on flute. I'll begin with the New York Philharmonic 2nd flute audition list, and will work on Bolero by Ravel for flute and Ma Mere l'oye, Suite by Ravel for piccolo.
I'm still going to post a video this week. This video is from my senior year of high school, and was my final audition for our school's end of the year talent competition. It's not my best work by any means, but watching it reminds me what I've come from. Going to an arts school meant talent competitions were not to be taken lightly, the competition was fierce!
Enjoy your weekends!
So I didn't make a video this week. I've been trying to figure out how I want to structure everything and I think I've finally come up with a plan. I want to use this summer to really work on orchestral excerpts and get a start on the music I'll be playing at my recital in the fall. I will record one excerpt a week on piccolo and one excerpt a week on flute. I'll begin with the New York Philharmonic 2nd flute audition list, and will work on Bolero by Ravel for flute and Ma Mere l'oye, Suite by Ravel for piccolo.
I'm still going to post a video this week. This video is from my senior year of high school, and was my final audition for our school's end of the year talent competition. It's not my best work by any means, but watching it reminds me what I've come from. Going to an arts school meant talent competitions were not to be taken lightly, the competition was fierce!
Enjoy your weekends!
Tuesday, July 5, 2011
Why the HECK am I doing this?
Hi readers!
The thought of writing a blog is so strange to me, but I'm doing this to get my feelings out there, let my friends and family know how things are going, and to keep myself accountable for some new things I'm doing with my life.
Who am I?
I'm Katelyn Kaiser. I'm 19 years old, and will be entering my sophomore year at Ohio University in Athens, OH (GO BOBCATS!). I'm a musician. My main instrument of choice is flute, and it is my life. I also play piccolo and love it. I'm studying flute performance and am minoring in jazz studies and business. I want to do big things with my life.
People always ask me what I'm going to do with a degree in flute performance. It pissed me off at first, like, why are you questioning me? But now I'm used to answering this question, because it is a weird major. What do I want to do with my life?
My biggest dream in life is playing as a studio musician for a large production company. Studio musician's are responsible for all of the heartbreaking music you hear when Andy goes to college, the uplifting music when Nemo is reunited with his dad, etc.. Studio musicians are mostly used by animation companies a la Pixar or Disney. Who doesn't want to live their life working for Pixar?
Studio musician jobs are hard to come by. It's almost impossible, actually. Think about it. How many large animation studios are there? This is the list that wikipedia gives me: http://en.wikipedia.org/wiki/List_of_animation_studios
There are probably 2 or 3 flutists (realistically) working for these companies. And some of them hire by project, not for long term jobs. I would gauge my chance as 1 in a million. But a girl can dream, right?
So, what's my backup plan? Symphony musician. These jobs are still hard to come by but getting one means benefits, insurance, and a steady pay check. Most symphony jobs are through the union, which means it is safer then a non-union musician job. I would be happy playing in a symphony with some teaching jobs on the side to supplement my income. Perfectly content.
I'd also be fine with teaching at a university or college, but after getting symphony experience. I want to be able to help my students prepare for a realistic career, something I don't think I can do without the work experience of a symphony job. Or studio job. Whichever.
What am I hoping to do with this blog?
At the beginning of this post I told you that I wanted to keep myself accountable for things. What things? This is my vow to post a practice video AT LEAST 1x a week. It isn't that hard seeing as I practice everyday anyway. I want the record of my progress. Whether a piece is complete or not, I'm going to record.
I want to force myself to push my limits and boundaries. I have a habit of taking things safe. I'm boring. I need to push myself through this blog. I want to document my collegiate years and help people understand what a flute performance major does and how it all works.
Alright readers, I'm going to stop rambling. I'm sure I'll have many more posts to tell you about myself and what I'm doing with my life.
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