See Part I here.
We've talked about your choices for judges, what you've told your color guard hopefuls to expect, and we've reviewed audition formats. Now we'll turn to the actual audition day. We are going to assume that you are running a one-day audition but, of course, this same information can be used when running a multiple day audition. Simply extend the teaching days and then run the actual audition on the last day.

When your auditioners arrive, assign each a number to be pinned to their shirt. You may simply number 1 through however many kids you have. Or, since you will be running the auditions in small groups of 4 or so, you may want to number them A1, A2, A3, A4 for the first group, B1, B2, B3, B4 for the second group, etc. Numbers allows a certain sense of anonymity and neutrality. Of course there will be auditioners there that many of the judges will recognize but numbering will help to put everyone on a level playing field. In this way, it doesn't have to be obvious who was on the squad last year or who is the little sister of last year's captain. However, when forming these groups, try to keep at least one veteran in each foursome to help the other girls with technique, memorization of the routine and to keep the group from freezing up during their turn at bat.

Once the girls have been placed in their groups, line them up in the gym (many less distractions than on the field) in their numbered order and begin teaching the skills, dance, routine, etc. Be sure to rotate the lines by moving the front line to the back and everyone else forward every 20 minutes or so. This will give everyone a chance to work up front with the instructor and to ask questions easily. While the skills are being taught, you may want to have a few of the age-outs or assistant instructors on hand to walk through the lines, answer questions and help with technique. Impart a sense of discipline from the very beginning. These kids are all ears today and this may be the last time you will get this kind of undivided attention so make the most of it. The practice habits you initiate today will last all season.

A word of advice: do not keep teaching until every last kid understands every last piece of work. Teach until the average student gets most of it and explain to the kids that you do not expect perfection today. You know that there are skills they will not be able to master in a day or a week. You are looking for a general talent, a willingness to learn and a probability of mastering a technique that will enable the auditioner to eventually fit in with the group's style. Let them know, especially if an interview is part of the audition process, that attitude is every bit as important as talent. And don't forget to stress "performance" or "presence". If your group's style is smiling or intensity or theatrical, stress that from the first moment and insist that they practice as they will perform. A good face can make up for less than stellar initial technique.

Once all skills and routines are taught, give the kids a lunch break. Make it a good long hour or hour and a half so the kids can decompress, eat a good lunch and perhaps take some of their free time to get together and review. After lunch, gather everyone together in their numbered block and review all skills, dance and spinning routines. Never teach new work just before the actual auditions -- you will freak out the kids and increase the risk of freeze-ups during their tryout.

Now for the actual auditions. There are two schools of thought regarding audiences. Some say that the kids will have to perform in front of an audience when in the band and so should audition in front of an audience. Others say that an audience places too much pressure on kids who have just learned new skills and new routines. Allowing an audience (a.k.a. parents) to watch auditions also increases the risk of a parent approaching you after the results are posted and debating about the merits of Suzie's performance versus Katie's. In my opinion, it is best keep all non-auditioning persons out of the gym but allow the auditioners to sit to the side while they wait their turn. This provides an audience and also levels the playing field in that the girls whose numbers are not called right away do not get extra time to practice out in the hall.

By this point, you will have explained to the judges what they should be looking for and how the points are to be divided. Perhaps 20 points for technique, 20 points for performance, 20 points for adherence to the routine, and 20 points for marching skills. The remaining 20 points to be allotted during the interview. Provide the judges with sheets listing each of these breakdowns 4 times. Label each at the top A, B, C etc. for each group. Therefore, 4 girls will be reviewed per sheet -- A1 at the left through A4 at the right -- listed on the sheet just as they will stand before the judges.

Start calling the groups in a random order. Explain that they will be run through each of the skills, routines and marching at least once and perhaps several times as the judges request. You may want an age-out or assistant instructor to perform the routines behind the auditioners to provide a template against which to judge. This will also help out if the entire group freezes. Run each group separately and call groups back as requested by the judges.

Now it's time to move on to the interview, which by this time should be a relief to the kids. Allow the judges to talk to each auditioner one on one out of earshot of the remainder of the group. Mix up a few pre-prepared questions with a few "surprise" questions. For general questions consider:

Why do you want to be a member of the color guard?
If someone where to ask you what guard is all about, how would you answer?
If you saw trouble brewing between guard members, what would you do?
If you did not agree with your captain, what would you do?
What does school sprit and band "esprit de corps" mean to you?
Are you willing to practice 3 days a week for 2 hours each time (insert your anticipated rehearsal schedule)?
Do you plan on being available for all performances?
What else would you like us to know about yourself?

For captains and other officer positions, consider the following questions:

If someone on the guard seemed isolated, what would you do?
If someone of the guard needed help with the routine, what would you do?
If you were unexpectedly placed in charge of the guard for the first 20 minutes of rehearsal, how would you handle it?
If a guard member told you something that made you think they might be a danger to themselves, what would you do?
Are you available to arrive early and stay late for rehearsals?
What do you think your responsibilities would be during those times?
If you had a problem with another officer, how would you handle it?
What are your thoughts on guard leadership?
What did you like most about last year's leadership? Least?
What would make you a good leader?
Of the other candidates, who do you think would make a good leader?
What else would you like us to know about yourself?

Encourage the judges to ask their own questions and then assign the remaining points to each auditioner.

When all are finished, explain to the group that the results will be tabulated and posted within 30-40 minutes or however long you anticipate the tabulation to take. Inform them that if they are on the list, they will be expected at the first rehearsal. Do not make the first rehearsal right after auditions. Allow everyone to go home and relax. This also allows the auditioners who did not make it to walk away with their friends instead of taking that lonely walk by themselves. Also be sure to explain to the kids that if they are not on the list, it does not necessarily mean that they did not do a good job or that they do not have potential. Everyone is always invited to work on his or her skills and tryout again next year. Afterwards, be available for the kids so that they may ask questions to find out what they need to improve upon.

Another word of advice: the kids do not need to see their exact scores. Simply list all who made cuts in no particular order do avoid stratifying the group.

You may also want to consider alternate positions. Many groups find this a good way to motivate members as there is always someone in the wings who knows the work and can fill in if a regular marching member is absent too often, has a bad attitude, doesn't work hard enough to learn the routines or simply becomes injured. These alternate members may be auditioners whose performance was marginal but who have potential. They can work with the guard proper all year, increase their skills and work toward a regular marching position next year. They can also help out with the equipment and other details of guard life. Make sure that these members do not become second class citizens. They should be treated well by the rest of the guard and included in all guard activities. They should be viewed as "little sisters" who need to be guided.

Many of these ideas are very specific and you may want to organize the details of your auditions in a different manner. In general keep these points in mind:

· Always run a fair audition, which also involves making sure that the auditioners feel that the audition is fair.
· Treat everyone with respect, especially those who do not make it.
· Stress that everyone is invited to tryout again next season.
· Organize everything so that audition day runs smoothly.
· Be sure of what you are teaching and review how you will teach it.
· Double check and triple check tabulations.
· Instill the type of rehearsal atmosphere today that you will expect at every rehearsal.
· Try to make the day fun and not totally scary.

If you have any questions regarding auditions or other color guard-related matters, please feel free to email me at jette@marchinglinks.com. Also you may subscribe, free of charge, to my marching band and performing arts newsletter, TheMarchingLink by emailing the same address. For useful links, my website, MarchingLinks.com., lists suppliers, designers, service providers and classified ads for marching band and performing arts gro