Since I wrote a post. I kept thinking I would write one after something else happened...clearly I've been a busy kid these past weeks!
This week I've been SUPER busy! My sorority, Tau Beta Sigma, is canvassing for Passion Works Studio this week. They lost over a million dollars in funding and they are hosting a cake auction and fight as a fundraiser. We've been all of the city of Athens this week, and it's been a lot of fun! (SN: If you are the owner of a business around Athens, OH and would like to donate a cake, please email me! Leave me a comment with your email and I'll send you one!!!) To learn more about Passion Works Studio and their AMAZING program, please visit Passion Work's Website!
I also had a theory midterm this week, my private teacher returned from Argentina, and a sight singing lab. I've been spending way too much time in the library. But it's Friday, and I've made it through the bulk of my week. As long as I can get through the next few hours I'll be okay. Tomorrow my mom is coming to visit and taking photos of my friend Elizabeth Klein and I for our recital posters! I'll put some online when I have them (and if it's alright with Liz).
I've also had some pretty "adult" moments this week. Last week I noticed my power steering fluid was leaking fast, and had to call a mechanic. I took it in on Monday, and was shocked to hear that I needed a whole new steering rack and a pressure hose. Other people with a '99 minivan might not be so shocked, but I had just had the power steering rack replaced. Within the past 6 months. Not a happy camper.
After a little digging around (though my parents did most of the digging around...) we found out that my part was under warranty, and I could get a new one for free. That brought my almost $700 bill down to about $340. Much better.
I think the reason I was so stressed about the cost of the part was that I wasn't going to be able to buy my new headjoint if I had to put $700 into my car. I was planning on ordering it that Monday, but ended up waiting until Tuesday when we found out the part was covered under warranty and my parents offered to pay for the remaining cost. Because of that, my new headjoint came yesterday and I love it! I ended up with a Powell 9k Aurumite venti cut. And it is fantastic.
http://www.youtube.com/watch?v=__m4LNPhuts
I also got a chance to rehearse in the Recital Hall yesterday, which was great for trying out the headjoint, as well as checking in on my recital pieces. I was specifically concerned about Rhonda Larson's The Boatman. I'm playing it on a hall crystal flute and I was afraid it wouldn't have the same projection as my regular flute and that I would have problems with it in the hall. I was wrong. It sounded good. I still have some refining to do, but it's sounded good so far.
http://www.youtube.com/watch?v=36m2SfUEQLg
Last night I attended a workshop on the Power Lung, held by Joan Sparks of Flute Pro Shop. It was really interesting. I've grown up with teachers who believed very strongly in the "Finger Breath", a technique used by Keith Underwood. The Power Lung is kind of a more advanced version of the finger breath. I really liked it. It's a machine that you breathe through, but it adds resistance to your inhale and exhale. It's used by athletes, musicians, and even in hospitals as a respiratory therapy tool. It's a really interesting device! Something that will probably be on my Christmas list!
Friday, September 30, 2011
Tuesday, September 20, 2011
Today is a new day...
Hi everyone!
Today is a new day and it's going surprising well. First, I got 11 hours of sleep last night. I don't normally do this--normally I try to get at least 8. But yesterday i just didn't feel good all day. Trying to practice seemed like a chore and I just couldn't seem to concentrate of anything for an extended period of time. It was raining and gross and I was tired. So, I slept. What a concept.
In other news, my Miguel Arista head joint (once my prized possession), is officially in Belgium. For those of you who aren't in on this conversation, let me explain. When I was in 10th grade, my flute teacher suggested a new head joint to extend the amount of time I had before having to buy a new flute. He convinced my parents and I, and we purchased a Miguel Arista head joint straight from Miguel, made especially for me. I was ecstatic. I loved that head joint.
Fast forward a few years. Before college audition season, we had finally saved enough money for my Altus flute. I purchased this flute, and continued to use the Miguel Arista headjoint. I used it through my college auditions and into the first few weeks of college. But I wasn't getting the sound I wanted anymore. It started to lack a full upper octave. My embouchure was changing and it was noticeable. Since I still owned the Altus headjoint, I decided to try it out for a week. The change in sound was astounding. The upper register was full, the lower register was big, and everything in between was great. I started to use the Altus headjoint full time.
Fast forward a few months. While I love the sound I'm getting on the Altus headjoint, I know that there are more colors and timbres available to me through another headjoint. I decide I'd like to hear myself on gold. Since I live about an hour away from Flute World I decide to drag my best friend along (another flutist) and head up there to try out some headjoints. The process was surprisingly painless. I gave Karen my flute, told her my price range and that I wanted to hear myself on gold, and she brought in a half-a-dozen headjoints. They were all different makers, different cuts, different materials. I thought "What did I get myself into?" and started trying them out. The first one I tried I hated. Absolutely hated. Maybe this would be easier then I thought.
I tried the rest of them, and instantly fell in love with one. This headjoint, a Powell Aurumite 9K Venti cut, was perfect. It had the fullest low octave I've ever heard, the quickest response I've even felt, and was right in my price range. I decided I had driven an hour up there, and I shouldn't stop yet. I tried another half-a-dozen, and still wasn't wowed by any of them like I had been with the Powell. None came anywhere close.
While waiting for another round of headjoints, Flute World's owner, Shaul Ben-Meir came into my trial room. We chatted for a few minutes, discussing the headjoints I was trying. I told him I had fallen in love with the Powell. He handed me a used Drelinger and asked me to try it. I did, and knew I didn't like it. Then I played the Powell. Shaul agreed that the Powell really stood out from the bunch. My mind was basically set. I would sell my Arista and purchase the Powell.
The lucky thing about Miguel Arista headjoints is that they are hard to find. They are literally made by one man, in his garage/shop, and he only is able to produce a few dozen a year. It took me over a year to get some headjoints in to try. The waiting list in Europe is even longer. When I decided to sell my headjoint, I immediately posted an ad on a group "Flutes for Sale" on FaceBook. Within hours I had a buyer interested. He lived in Belgium, and wanted the headjoint. The fact that a man thousands of miles away was willing to pay hundreds of dollars for a headjoint he had never played really speaks to the reputation of Miguel Arista. After a few days of negotiation (and a few days getting price quotes for shipping) my headjoint was sold. After his money cleared in my bank, I shipped the headjoint out to Belgium.
The ability to ship items amazes me. I dropped my headjoint off around noon last Friday (September 16th). Today, the headjoint is being delivered. I feel so relieved that the headjoint is being delivered today. That means I can stop worrying about it's safety--I was nervous it would get lost! It also means I can start thinking about buying my Powell (which is on reserve for me at Flute World).
That was a longer story then I planned! If you've actually gotten this far, congrats. It was quite a read. And to reward you, here's a list of the trip my headjoint has taken...
Began:
Today is a new day and it's going surprising well. First, I got 11 hours of sleep last night. I don't normally do this--normally I try to get at least 8. But yesterday i just didn't feel good all day. Trying to practice seemed like a chore and I just couldn't seem to concentrate of anything for an extended period of time. It was raining and gross and I was tired. So, I slept. What a concept.
In other news, my Miguel Arista head joint (once my prized possession), is officially in Belgium. For those of you who aren't in on this conversation, let me explain. When I was in 10th grade, my flute teacher suggested a new head joint to extend the amount of time I had before having to buy a new flute. He convinced my parents and I, and we purchased a Miguel Arista head joint straight from Miguel, made especially for me. I was ecstatic. I loved that head joint.
Fast forward a few years. Before college audition season, we had finally saved enough money for my Altus flute. I purchased this flute, and continued to use the Miguel Arista headjoint. I used it through my college auditions and into the first few weeks of college. But I wasn't getting the sound I wanted anymore. It started to lack a full upper octave. My embouchure was changing and it was noticeable. Since I still owned the Altus headjoint, I decided to try it out for a week. The change in sound was astounding. The upper register was full, the lower register was big, and everything in between was great. I started to use the Altus headjoint full time.
Fast forward a few months. While I love the sound I'm getting on the Altus headjoint, I know that there are more colors and timbres available to me through another headjoint. I decide I'd like to hear myself on gold. Since I live about an hour away from Flute World I decide to drag my best friend along (another flutist) and head up there to try out some headjoints. The process was surprisingly painless. I gave Karen my flute, told her my price range and that I wanted to hear myself on gold, and she brought in a half-a-dozen headjoints. They were all different makers, different cuts, different materials. I thought "What did I get myself into?" and started trying them out. The first one I tried I hated. Absolutely hated. Maybe this would be easier then I thought.
I tried the rest of them, and instantly fell in love with one. This headjoint, a Powell Aurumite 9K Venti cut, was perfect. It had the fullest low octave I've ever heard, the quickest response I've even felt, and was right in my price range. I decided I had driven an hour up there, and I shouldn't stop yet. I tried another half-a-dozen, and still wasn't wowed by any of them like I had been with the Powell. None came anywhere close.
While waiting for another round of headjoints, Flute World's owner, Shaul Ben-Meir came into my trial room. We chatted for a few minutes, discussing the headjoints I was trying. I told him I had fallen in love with the Powell. He handed me a used Drelinger and asked me to try it. I did, and knew I didn't like it. Then I played the Powell. Shaul agreed that the Powell really stood out from the bunch. My mind was basically set. I would sell my Arista and purchase the Powell.
The lucky thing about Miguel Arista headjoints is that they are hard to find. They are literally made by one man, in his garage/shop, and he only is able to produce a few dozen a year. It took me over a year to get some headjoints in to try. The waiting list in Europe is even longer. When I decided to sell my headjoint, I immediately posted an ad on a group "Flutes for Sale" on FaceBook. Within hours I had a buyer interested. He lived in Belgium, and wanted the headjoint. The fact that a man thousands of miles away was willing to pay hundreds of dollars for a headjoint he had never played really speaks to the reputation of Miguel Arista. After a few days of negotiation (and a few days getting price quotes for shipping) my headjoint was sold. After his money cleared in my bank, I shipped the headjoint out to Belgium.
The ability to ship items amazes me. I dropped my headjoint off around noon last Friday (September 16th). Today, the headjoint is being delivered. I feel so relieved that the headjoint is being delivered today. That means I can stop worrying about it's safety--I was nervous it would get lost! It also means I can start thinking about buying my Powell (which is on reserve for me at Flute World).
That was a longer story then I planned! If you've actually gotten this far, congrats. It was quite a read. And to reward you, here's a list of the trip my headjoint has taken...
Began:
- Athens, Ohio
- Columbus, Ohio
- Memphis, Tennesee
- Paris, France
- Machelen, Belgium
- Wilrijk, Belgium
- and finally, Berchem, Belgium
Saturday, September 17, 2011
Shimmering Silver Audition/Masterclass reflections
Hey guys!
It's been a little while since I've written a post--this week was crazy! I had my first sight singing test of the quarter on Wednesday, and was so relieved that I aced it! I also had a lot of rehearsals, and two auditions for OU's flute quartet, Shimmering Silver,
My first audition was on Wednesday. That was the day I had my sight singing test (at 8am that morning), and also the day of my jazz combo rehearsal (7-9pm). Needless to say, I was kind of tired by the time my audition rolled around (12:30). Also, my best friend in the studio had just gone before me, and I was nervous to see how I would compare. I may have been nervous before we began, but once we started I felt at ease. Playing in chamber groups instantly puts me in my element. I felt calm and excited for the music we were playing (I was sight reading). But it was fun. I walked out of the room feeling alright--I had done my best.
After flute choir, Alison announced the results of the first round of auditions. Liz (my friend) had made it in, and I was one of two girls asked to re-audition for the final spot. I wasn't really planning on doing two auditions, but I was ok with it. I was glad to be asked back. The auditions were on Friday, and 2:30, and would take about 20 minutes.
Going into the audition on Friday, I felt good. The audition went smoothly, as planned, and nothing crazy happened. I felt in my element. I remained calm and was able to play with elegance and poise. The results would be sent via text message before large ensemble rehearsals (3pm). I got the text around 3:05, which announced that I had made it in! I was sooo excited to be performing in a group like Shimmering Silver, and felt like this was my year. Everything is going my way. Hopefully that continues for the rest of the year...
Today we had a masterclass with OU alum Ana Laura Gonzalez. It is always an honor to be asked to play for visiting artists, and I felt prepared. I played movement 4 of the Rouse Flute Concerto (Scherzo). It went alright--technically it could have been a lot better, but everything was ok. One of her first comments to me was that I needed to lighten up, be less serious, have more fun. This is something I've always had a problem with portraying in my playing. I'm known for being a "calm" musician. I don't show a lot of emotion, things are just nice and relaxed. Even outside of my playing, people describe me as "serious", "focused"...rarely does someone say that I'm giggly or light-hearted. With this movement, I can't be relaxed. I need to have FUN, show emotions, SELL IT. She worked on a lot of other things with me, but that was what really stuck. How do I make myself be less serious? That's something I'm going to have to work on this week. Prepare yourselves for a less serious Katelyn when I write my next post.
It's been a little while since I've written a post--this week was crazy! I had my first sight singing test of the quarter on Wednesday, and was so relieved that I aced it! I also had a lot of rehearsals, and two auditions for OU's flute quartet, Shimmering Silver,
My first audition was on Wednesday. That was the day I had my sight singing test (at 8am that morning), and also the day of my jazz combo rehearsal (7-9pm). Needless to say, I was kind of tired by the time my audition rolled around (12:30). Also, my best friend in the studio had just gone before me, and I was nervous to see how I would compare. I may have been nervous before we began, but once we started I felt at ease. Playing in chamber groups instantly puts me in my element. I felt calm and excited for the music we were playing (I was sight reading). But it was fun. I walked out of the room feeling alright--I had done my best.
After flute choir, Alison announced the results of the first round of auditions. Liz (my friend) had made it in, and I was one of two girls asked to re-audition for the final spot. I wasn't really planning on doing two auditions, but I was ok with it. I was glad to be asked back. The auditions were on Friday, and 2:30, and would take about 20 minutes.
Going into the audition on Friday, I felt good. The audition went smoothly, as planned, and nothing crazy happened. I felt in my element. I remained calm and was able to play with elegance and poise. The results would be sent via text message before large ensemble rehearsals (3pm). I got the text around 3:05, which announced that I had made it in! I was sooo excited to be performing in a group like Shimmering Silver, and felt like this was my year. Everything is going my way. Hopefully that continues for the rest of the year...
Today we had a masterclass with OU alum Ana Laura Gonzalez. It is always an honor to be asked to play for visiting artists, and I felt prepared. I played movement 4 of the Rouse Flute Concerto (Scherzo). It went alright--technically it could have been a lot better, but everything was ok. One of her first comments to me was that I needed to lighten up, be less serious, have more fun. This is something I've always had a problem with portraying in my playing. I'm known for being a "calm" musician. I don't show a lot of emotion, things are just nice and relaxed. Even outside of my playing, people describe me as "serious", "focused"...rarely does someone say that I'm giggly or light-hearted. With this movement, I can't be relaxed. I need to have FUN, show emotions, SELL IT. She worked on a lot of other things with me, but that was what really stuck. How do I make myself be less serious? That's something I'm going to have to work on this week. Prepare yourselves for a less serious Katelyn when I write my next post.
Saturday, September 10, 2011
Large Ensemble Audition Results!!!
Large Ensemble results were posted Friday morning. Here are my standings:
I'm very pleased with my standings! I've been placed in two ensembles, which means I now have rehearsal every day. I can deal with that :) The only expectation I had for myself was to make Wind Symphony, so making Wind Symphony and Orchestra means I surpassed my expectation. That's all I can ask from myself.
I'm still trying to figure out what happened in my audition. Like I said in "Audition Reflections", I had trouble focusing. I'm finding this problem to happen more regularly in classes and even when I'm talking with friends. A friend of mine suggested meditation each day. I think I'll start trying that out, especially before performances.
Combo placements will be up this Monday, and I'm auditioning for Shimmering Silver (the flute quartet) on Wednesday. That will be my last audition for the quarter (for school, at least...).
Heading out to the football game! Expect another post tonight to continue with my "College Search" series.
Thursday, September 8, 2011
Gearing up for my recital...
So this quarter I'm sharing a recital with my friend, Elizabeth Klein (a fellow flutist) so this week I've been finalizing repertoire, determining a date, and running through our duet a few times. Here's what I'm playing:
Christopher Rouse, Flute Concerto:
Movement 4: Scherzo and Movement 5: Anhran
http://www.youtube.com/watch?v=7CqvZ3Vs7Qg
(from 16:53 on)
Robert Muczynski, Flute Sonata
Movement 1, Allegro Deciso
http://www.youtube.com/watch?v=Q4wUtc45Ya0&feature=related
Movement 2, Scherzo
http://www.youtube.com/watch?v=x_IE2WwKiaE&feature=related
Movement 3, Andante
http://www.youtube.com/watch?v=3x7WK1jIrUs&feature=mfu_in_order&list=UL
Movement 4, Allegro Con Moto
http://www.youtube.com/watch?v=Ukumnn3hBoA&feature=BFa&list=UL3x7WK1jIrUs&lf=mfu_in_order
And lastly....
Rhonda Larson, The Boatman (on crystal flute)
http://www.youtube.com/watch?v=-ybaYNLoTWY
Together, Liz and I are playing Maya by Ian Clarke.
http://www.youtube.com/watch?v=Fa2MKCA9Kfk
I'm still a little overwhelmed by the amount of work to be done, and the length of time I have to do it. But I'll make it work, like always. I'm super excited to play the recital!!!
Christopher Rouse, Flute Concerto:
Movement 4: Scherzo and Movement 5: Anhran
http://www.youtube.com/watch?v=7CqvZ3Vs7Qg
(from 16:53 on)
Robert Muczynski, Flute Sonata
Movement 1, Allegro Deciso
http://www.youtube.com/watch?v=Q4wUtc45Ya0&feature=related
Movement 2, Scherzo
http://www.youtube.com/watch?v=x_IE2WwKiaE&feature=related
Movement 3, Andante
http://www.youtube.com/watch?v=3x7WK1jIrUs&feature=mfu_in_order&list=UL
Movement 4, Allegro Con Moto
http://www.youtube.com/watch?v=Ukumnn3hBoA&feature=BFa&list=UL3x7WK1jIrUs&lf=mfu_in_order
And lastly....
Rhonda Larson, The Boatman (on crystal flute)
http://www.youtube.com/watch?v=-ybaYNLoTWY
Together, Liz and I are playing Maya by Ian Clarke.
http://www.youtube.com/watch?v=Fa2MKCA9Kfk
I'm still a little overwhelmed by the amount of work to be done, and the length of time I have to do it. But I'll make it work, like always. I'm super excited to play the recital!!!
Wednesday, September 7, 2011
Audition Reflections...
So, since the purpose of this blog is to help me reflect and write down my feelings about practice sessions, I decided to do so about my auditions.
Tuesday I auditioned for Large Ensembles here at Ohio University. We had two pieces to play--the first movement of Hindemith's Symphony in Bb (flute 1), and Strauss' Overture to Die Fledermaus (flute 1 and piccolo). At OU, we are expected to learn the entire work, and then excerpts are picked at the audition for us to play. I've been rehearsing the pieces for a few weeks, and had a few run through sessions since I've arrived on campus. While I didn't feel like the pieces were perfect, I did feel at least comfortable with them.
Nerves can really affect your playing. Since coming to college I've been seen as the "relaxed", "laid-back", "easy-going" flutist. I don't get upset on a regular basis, and emotions outside of the music I'm playing rarely creep into my performance. I thought I had conquered any nerve "problems" I had and felt confident that I could walk into my audition with focus and nail it.
But I did something that surprised me when I walked onto stage at my audition. I felt nervous. I couldn't seem to get my mind to calm down and focus on the music in front of me and I didn't like it. I suddenly didn't feel secure, didn't feel confident. My first few excerpts seemed to fly by. I didn't sound like myself. I was stumbling over notes, my technique was uneven and frantic, and I just didn't feel comfortable. For someone who is calm most of the time, this was a new sensation.
After the first few excerpts, I had to mentally talk myself down off the cliff, so to speak. I had to control my nerves. I wasn't going to let it get the better of me. Before I played the next piece (the Hindemith) I took a few deep breaths, and told myself to focus. I almost yelled at myself, standing on a stage behind a screen. "Stop this. Don't ruin it for yourself. You don't have bad auditions. You know this music. Calm down. Focus." After my own personal pep-talk, I dove into the Hindemith. The first excerpt was the hardest, and I knew I wouldn't play it perfectly. But I still managed to get through it and maintain some bit of dignity. I felt myself relax. My sound was becoming normal, my technique was becoming even. I could still pull this around.
I knew that I had not shown the focus and cleanness that I was used to being praised for on the first piece. In order to maintain my respect and not be written off, I needed to keep my nerves in check and finish the Hindemith cleanly, play my piccolo excerpt well, and then really ace the sight reading. I was prepared to do that. The rest of the Hindemith went by quickly, without any huge mistakes. I was able to show some sense of musicality, to enjoy what I was doing. I was back in the game.
Next up was the piccolo excerpt, which went by without a hitch. Now the proud owner of a new Burkhart piccolo, I was able to trust the instrument to give me the sound I wanted. I just had to supply the technique, especially for the fast excerpt that had been selected. I sang it in my head for a moment, collected my thoughts, took a big breath, and went. It sounded how I had planned, how I had heard it on the recordings. I was glad to be done with excerpts.
I only had one more thing to finish before I could walk out of my audition and decompress for the night; Sight Reading. I glanced at it, and was surprised to see that it looked easy. Then I did my normal sight-reading thing--I started to overthink it. Why would they select something that wasn't technically difficult? Simple rhythms, clean melody, slight dynamics, nothing crazy. "Focus, Katelyn." I had to remind myself to pay attention. To stop freaking out. My nerves had already gotten the better of the Strauss, and I had to play the sight reading well. Then I realised--it wasn't some big test, some big trick, it really was just what was written on the page. I had spent my summer practicing the basics just for this moment. And I did. I played the sight reading like my life depended on it. I just had fun. Playing for enjoyment, not to be critiqued. I almost forgot that this was an audition and that I was being judged based on everything I did. It was my first break through during an audition. I've never managed to pull myself together so quickly and focus so intently on one thing in my life.
I walked out of the Recital Hall happy with my performance. While it wasn't my best, and I need to figure out how my nerves got the better of me, I was proud of what I had left out on the stage. It felt good to be done. And I was completely EXHAUSTED. I went back to my room and watched NetFlix, ate popcorn, and did NOTHING productive. And doing nothing never felt quite as relaxing.
Tuesday I auditioned for Large Ensembles here at Ohio University. We had two pieces to play--the first movement of Hindemith's Symphony in Bb (flute 1), and Strauss' Overture to Die Fledermaus (flute 1 and piccolo). At OU, we are expected to learn the entire work, and then excerpts are picked at the audition for us to play. I've been rehearsing the pieces for a few weeks, and had a few run through sessions since I've arrived on campus. While I didn't feel like the pieces were perfect, I did feel at least comfortable with them.
Nerves can really affect your playing. Since coming to college I've been seen as the "relaxed", "laid-back", "easy-going" flutist. I don't get upset on a regular basis, and emotions outside of the music I'm playing rarely creep into my performance. I thought I had conquered any nerve "problems" I had and felt confident that I could walk into my audition with focus and nail it.
But I did something that surprised me when I walked onto stage at my audition. I felt nervous. I couldn't seem to get my mind to calm down and focus on the music in front of me and I didn't like it. I suddenly didn't feel secure, didn't feel confident. My first few excerpts seemed to fly by. I didn't sound like myself. I was stumbling over notes, my technique was uneven and frantic, and I just didn't feel comfortable. For someone who is calm most of the time, this was a new sensation.
After the first few excerpts, I had to mentally talk myself down off the cliff, so to speak. I had to control my nerves. I wasn't going to let it get the better of me. Before I played the next piece (the Hindemith) I took a few deep breaths, and told myself to focus. I almost yelled at myself, standing on a stage behind a screen. "Stop this. Don't ruin it for yourself. You don't have bad auditions. You know this music. Calm down. Focus." After my own personal pep-talk, I dove into the Hindemith. The first excerpt was the hardest, and I knew I wouldn't play it perfectly. But I still managed to get through it and maintain some bit of dignity. I felt myself relax. My sound was becoming normal, my technique was becoming even. I could still pull this around.
I knew that I had not shown the focus and cleanness that I was used to being praised for on the first piece. In order to maintain my respect and not be written off, I needed to keep my nerves in check and finish the Hindemith cleanly, play my piccolo excerpt well, and then really ace the sight reading. I was prepared to do that. The rest of the Hindemith went by quickly, without any huge mistakes. I was able to show some sense of musicality, to enjoy what I was doing. I was back in the game.
Next up was the piccolo excerpt, which went by without a hitch. Now the proud owner of a new Burkhart piccolo, I was able to trust the instrument to give me the sound I wanted. I just had to supply the technique, especially for the fast excerpt that had been selected. I sang it in my head for a moment, collected my thoughts, took a big breath, and went. It sounded how I had planned, how I had heard it on the recordings. I was glad to be done with excerpts.
I only had one more thing to finish before I could walk out of my audition and decompress for the night; Sight Reading. I glanced at it, and was surprised to see that it looked easy. Then I did my normal sight-reading thing--I started to overthink it. Why would they select something that wasn't technically difficult? Simple rhythms, clean melody, slight dynamics, nothing crazy. "Focus, Katelyn." I had to remind myself to pay attention. To stop freaking out. My nerves had already gotten the better of the Strauss, and I had to play the sight reading well. Then I realised--it wasn't some big test, some big trick, it really was just what was written on the page. I had spent my summer practicing the basics just for this moment. And I did. I played the sight reading like my life depended on it. I just had fun. Playing for enjoyment, not to be critiqued. I almost forgot that this was an audition and that I was being judged based on everything I did. It was my first break through during an audition. I've never managed to pull myself together so quickly and focus so intently on one thing in my life.
I walked out of the Recital Hall happy with my performance. While it wasn't my best, and I need to figure out how my nerves got the better of me, I was proud of what I had left out on the stage. It felt good to be done. And I was completely EXHAUSTED. I went back to my room and watched NetFlix, ate popcorn, and did NOTHING productive. And doing nothing never felt quite as relaxing.
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