This month's contribution is aimed at teachers and students who will soon be in the maddening throes of getting ready for auditions, music festivals, and recitals(my wording is directed towards students, but teachers can feel free to steal the ideas!) Obviously, practicing til your head falls off is one solution. But, it's how you practice, what you practice, and what your brain is thinking while you practice that can make the difference between a performance you can be proud of and one that makes you want to crawl under a rock or donate your instrument.

Note to teachers:1) keep harping on the basics, including scales. 2) Allow your students at least 3 months to prepare. 3) Let your students have a hand in the material selection, if choices can be made. What I usually do is let my students take 3-5 different pieces home that I feel they can do and give them a couple of weeks to select the one they're the most comfortable with. 4)Select something that you know that in about 3 months, they'll be able to handle, but that will be challenging to them.5)This is a tough call, but decide ahead of time what you will do with students who will not be ready. If they've worked and worked and really want to try, I would let them. They'll have the experience and know what to expect for the next time. If you have a student who thinks they can "wing" it, talk to them seriously about the pros and cons. Don't come out and say "You can't go", but 'gently' suggest what might happen. If they insist, let them go ahead. It might be a good lesson in preparedness for them. I try not to let students back out until about 3 weeks beforehand. We discuss the pros and cons, then I let the student make the final decision. After all, they know more than I do about their schedule, and it is their show and their egos on the line.

OK, time to get ready! When do I start? How about a year in advance? First of all,find a good teacher to work with well in advance of any pressuring performance. Seeking a teacher to save you two months before the performance is a little late. Unless a performer has had excellent practice skills and has the basics in hand, even the best teacher can't usually save them totally so close to performance time. Oh, you might make it through the performance and you might even get a 'I' on your solo, but it's long-standing good habits that will keep you from sweating each time you go through this. The best way to do this is find a competent teacher to help you through all the steps of playing, not just performance preparation.

The first basic to successful performances anytime is: KNOW YOUR SCALES. (Yipes! The dreaded 'S' word!). Many auditions call for the ability to perform scales at a certain tempo with a certain rhythm and articulation, not because the judges love to torture people, but because scales are the foundation to most music. If you can tackle scales, you've come a long way to tackling most selections, because most selections will have scales or scale fragments in them. It's also a good idea to use arpeggios in different keys in your warm-ups, because quite a bit of literature will also contain these. Work with those lousy, boring etudes, long tones (in flute), and all the other technic exercises your teacher throws at you.

Practice your sight-reading. Hey, isn't that what you do when you learn a new piece anyway? Learn how to check a piece over before playing and sing it in your mind before jumping in. Learn to go through a piece entirely before backtracking.

Establish good practice habits. Set aside the same time every day for practice. If the day is crowded, reserve even just 10 minutes to do scales or practice the difficult licks SLOWLY. If you have time for a long session, use at least 1/4 of it for the warm-ups. Go through your selections, three times slow for every time fast. Play your piece at the tempo that you can play your toughest lick correctly. As I mentioned earlier, try to go through each piece at least once, to get the continuity. If you make mistakes, don't keep going back to the beginning. Isolate the tough parts and just do those, slowly. Then, gradually, boost the tempo. If you keep making silly mistakes over and over, it's time to walk out and clear your brain. In a James Galway masterclass I attended, he mentioned that in his practice, when he got tired, he went out to make some tea. Of course, by the time the tea was done, he was ready to go back, so he always has cold cups of tea around the house. If you still have trouble, just play something else and try again tomorrow. It will come back.

Play, play, play! Play in front of anyone or anything that will be supportive. Play for the dog, your mom, a good friend (NOT someone you're always competing with for chairs!)Play at nursing homes and at church. Just get used to playing in front of people. Play your solo (with music)for these people so you're comfortable with both an audience and the song.

For many auditions, and for most music festivals, memorization is required. This sends cold chills up many of my students. This does not have to be scary. Some memorization tips: Practice slowly. Trust me. You'll be amazed how fast you can play a selection even if you do it 10 times slow for every time fast. This also gives you ample opportunity to concentrate on the details. Like for speed, play at least 3 times with the music for every time without. Don't even tackle playing from memory until the notes are under your fingers. You've heard your brain can be like a computer, right? If you've ever done any computer programming, you know how tough it is to de-program. Memorizing things incorrectly is the same thing. It's tough to unlearn it.

Memorize in phrases and sections, not one note at a time. Look for patterns, like scales or scale fragments, arpeggios, modulations and key changes, etc.

If you use an accompanist, learn the what the piano part sounds like. Recognize cues from the piano. Tape your accompanist and practice with the tape at home.

Concentrate on playing music, not being a robot. Once you start feeling the music, it really does flow from you.

OK, you've found a good teacher to help you with all the aspects of playing your instrument. You know your scales backwards and forwards. You have good practice habits. You've got your song memorized. It's a week before showtime. PANIC! (not!)

Keep playing with the music. That will keep reinforcing everything you've memorized.

Find out from your teacher what the procedure is for this performance. Auditions, recitals, and music festivals will all have different "rules". (i.e. Will you announce your selection? Do you sit or stand? Do you bow?) Whatever it is, as silly as it seems, practice it as you do your song so it will automatic. You want to walk in that room with an air of command. This is, after all, your time, even if it is for 2-7 minutes.

Keep up on your scales.

Don't try to cram 4 hours of practice in when all you've been doing is 1-2. The monster sessions should come earlier.

It's the night before. Here are some ideas to help you relax:
Take a nice, long bubble bath.
Have a Coke and your favorite snack (but don't stuff yourself)
Go out with friends,but don't stay out too late.
Meditate. Think about sandy beaches, beautiful forests, anything but a small, bare audition room. Picture yourself going in, feeling confident, playing to your audience. Enjoy the feeling of people enjoying you.
Watch a dumb movie or TV show, nothing heavy.
If you believe in God,pray for confidence and the ability to do your best, and to go in with the attitude of someone giving a gift to others.

What not to do:
Practice your brains out. (It's too late). I usually tell my students to play through their song once with the music, then let it go!If you practice and make too many mistakes, you'll carry that memory in with you at the performance.
Stuff your guts. You'll just end up with a stomachache, embarrassing gas, and a feeling of heaviness, when you want to feel energetic.
Stay up late. Get to bed at a decent time. Don't go to bed too early, or you'll wake up early and have more time to feel jittery.

Today's the day.
Beforehand: Remember that no matter how good they are, everyone's in the same boat as you. Try to get into the mentality that you are there to provide pleasure for an audience, not putting your life on the line. If you try to look at the judge as someone to entertain and your music as a gift, you will do better.

Amy King from Indiana University-Southeast told me the best advice she's heard of comes from Kato Havas, the violin teacher, in her book Stage Fright: Its Causes and Cures. She talks about the importance of uplifting the listener through the process of "giving" the music to the listener. When you do that, you'll start learning to also enjoy your own performances instead of seeing them as a chore with the trophy at the end. After a while, the trophy, as desirable as it is, won't seem so important. It will also ease the letdown if you don't win even after doing your best.

Decide beforehand if you're going to listen to anyone else (if that's allowable). If you think it will rattle you, stay outside the room until it's your turn.
On the same note, be early. Sometimes, the auditions or festival schedule will run behind, but sometimes someone else won't show up. No use running and being out of breath and flustered.

Ideas from Megan Meisenbach: Bring a coloring book or something mindless to do while you wait. Don't sit with nervous people. Run some stairs, if you feel jittery. Eat a normal breakfast, and no sausages. Don't eat salty food. (It will upset your stomach, and ,if you're a wind instrument person,will dry your mouth out. Think about the phrase structure. Imagine melting the hearts of the listeners with the beauty of your sound.

A contribution fromKathy Russell -- Colorado Springs, Colorado Technical writer: print and online President, Pikes Peak Flute Choir Editor, "Daily Notes for Flutists" (on hiatus for 1998) A few notes about stagefright (paraphrased from other sources:) Yes, it happens to everybody, even lifelong professionals. If you're new to the performance scene, or returning after a few years, the adrenaline rush can be a surprise. Here are a few ideas to deal with both the physical and mental aspects of anxiety:
Most flutists don't like to play on a full stomach, but low blood sugar aggravates the adrenaline response. So have a good lunch, then eat a small healthy snack before we start our pre-concert rehearsal (rinse your mouth before you play, to avoid getting food residue in the flute). The idea is to be empty, but not hungry. Some researchers claim that bananas contain natural compounds that buffer the stress response. They're good for you anyway, so it can't hurt to try one.
Be aware of your breathing. The adrenaline rush will make you breathe shallowly and too "high." Some people concentrate on taking deep, slow breaths, to control the fast, shallow breathing and the racing pulse that goes with it. Others "lean into" the effect, taking faster breaths and concentrating on channeling that extra energy into the music. Experiment to see what works better for you. In either case, make a conscious effort to breathe from the belt and really fill up with air before you blow. This will make you sound better, which will help you feel more confident
. To avoid the dreaded dry mouth, drink as much water as possible on concert day. If necessary, stash a sports bottle in a safe spot (try to find one without neon colors).
The audience is full of your friends and family. They like you. They are rooting for you. They also do not expect you to play like Jimmy Galway. (Though it's OK to try to stun them by seeing how close you can get!) All mistakes happen in the past. If you goof, forget it. Keep a straight face and concentrate on the music that's still ahead of you. If you miss a note, 99% of the listeners will miss it 99% of the time. I have had people give me gushing praise about pieces that I know I butchered.
The conductor is your friend. Tune out the audience and focus on your music. I usually get in trouble when I pay more attention to the audience than to the job at hand. That leads to mistakes, which make me more nervous... So concentrate on your part, on (the conductor) Karen, and on listening to the other players. The better prepared you are, the less nervous you'll be.
Practice, practice, practice. However, if something is still too tough, please see Karen (the conductor). She can give you some help to get unstuck, simplify your part, or get you another part. If it's really, really too hard, it's even OK to sit that piece out.
Stagefright is your friend. Anxiety means that you want to do a good job. Successful performers don't try to get rid of anxiety. Instead, they learn to channel it, using that extra energy to make the music sparkle. You have earned the right to stand up in front of people and play. You've worked for years to play the flute, and they haven't. You are talented enough to give the gift of music to others, and they are happy to receive it. Concentrate on the pleasure of giving that gift, and enjoy yourself!

Once you go in, take advantage of any warm-up time. Maybe start the piece a couple of times with your accompanist, or get a feel for the piano, but don't play the tough stuff!
Take the time to think through your sections and entrances for each, especially if it involves changes of tempo or style. If you're playing more than one movement, count to five in your head before playing so you can "switch gears". Don't allow yourself to get so panicky that all you want to do is zoom through.
Yes, it can work. If you're so bold, imagine the judge in his underwear if you want. Anything to help you relax. Don't look at anyone straight in the eye while performing unless you have nerves of steel. Find a focus point right above their heads so it will appear as if you're looking at them. If you have a tendency to giggle, tell your friends to listen at the door. You do have the right to ask people to wait outside if you want. (except the judge, of course. Sorry).
While performing, if you make a mistake, don't panic. Look calm and pick up the cue from your accompanist, or, if you play piano, find a place to pick up. There are actually times when the judge is busy writing and may not notice. Even if he does, he is looking for an air of control and professionalism. This will be impressive and will certainly be better than sighing, shaking your head, or breaking down in tears.
DON'T RUN OUT when you're finished. No matter what happens, smile, acknowledge your audience, and bow if appropriate. If this is an audition, thank the judge for his time. Walk out calmly.

Afterwards..... COLLAPSE. Pig out. Turn cartwheels. Whatever!

To summarize on this topic, the following is from an interview with Leone Buyse by Dr. September Payne, Concert Flutist, and writer for the flute column "Houston Flutists", Houston Flute Club Newsletter.

Bio Newly appointed to the faculty of the Shepherd School of music at Rice University in Houston, Leone Buyse had a distinguished 22-year career as an orchestral musician before relinquishing her position with the Boston Symphony Orchestra in 1993 to become Professor of Flute at the University of Michigan School of Music and pursue a more active solo career. At the invitation of Seiji Ozawa, Ms. Buyse joined the BSO in 1983 as assistant principal flutist and principal flutist of the Boston Pops, and became acting principal flutist of the BSO in 1990. A former member of the San Francisco Symphony and the Rochester Philharmonic Orchestra, she appeared as soloist on numerous occasions with those orchestras and also with the Boston Symphony, the Boston Pops, the Utah Symphony, and l'Orchestre de la Suisse Romande. Her solo recordings include "the Sky's the Limit," a Boston Records release of American music for the flute and harp with Boston Symphony principal harpist Ann Hobson Pilot. A native of Ithaca, New York, Ms. Buyse began serious flute studies with David Berman at Ithaca College. She was graduated with distinction from the Eastman School of Music, where she studied with Joseph Mariano, and was awarded a Fulbright grant to France, where she was a student of Michel Debost, Jean Pierre-Rampal, and Marcel Moyse. The only American prizewinner in the 1969 Geneva International Flute Competition, she has presented recitals and master classes across the United States and in Canada, New Zealand, Japan, Greece, and Turkey. She has served on the faculty at the New England Conservatory, Boston University, and is in great demand as an adjudicator and clinician. She was a featured soloist at the National Flute Association's convention in Chicago in August 1997. (From Dr. Payne's article) My professional musical association with Leone Buyse began in 1984 through Boston University's master degree program. Since that time we have remained friends and kept written correspondence sharing many aspects of life such as hiking treks, the wonderful life of cats, and of course the flute! It is a great pleasure for me to introduce Ms. Buyse to the Houston's musical flute community. An elegant, beautiful player and wonderfully warm person: WELCOME LEONE!

SEPTEMBER: As the HFC prepares for its November Concerto & Solo Competition please share with us some of your thoughts on Preparing and Surviving Concerto Competitions and Auditions.
LEONE: Doing your best at an audition or competition is not an impossible dream. The original Greek definition of "competition" is "seeking together." Defining your own personal search before entering a competition or taking an audition will bring many goals into focus and help you to excel in meaningful ways. What should you and your fellow competitors be seeking? Here are some ideas for starters.
1. The true meaning of the music Whether listening to solo repertoire or orchestral excerpts, a panel of judges wants to hear a musician who understands the style of any work being played. Strive to bring depth of expression to your playing, using a wide range of dynamics, tone colors, vibrato, etc.. Try also to bring out the structure of your piece. In a concerto movement, this could mean emphasizing the main theme's triumphant return at the recapitulation or highlighting in harmonic modulations during the development section. Focusing on these musical elements will help to make your playing stylish and convincing.
2.Ways to convey your musical message. Attaining technical security is a necessity. Be creative in your practice, approaching problem spots with a fresh perspective. Learn to maintain concentration and composure, whether in a practice room or on stage. This will enable you to communicate successfully on both interpretive and technical levels. Surmounting logistical challenges is an art in itself: You won't be able to control whether you play first or last, or whether your warm up area is too hot or cold. But you can choose how to react to unexpected circumstances, and the most effective strategy is to think about the music itself and what you would like to tell your audience as you play.
3.Personal Improvement Rather than comparing yourself to other entrants, compare yourself with the other player you were when you last entered a competition or took an audition. Recognize and congratulate yourself for the improvements you've made during the last few months or year.

Choose your concerto with great care, seeking advice from your teacher or someone else whose advice you trust. Your chosen work should challenge you to reach a higher level of technical skill yet not be so difficult that your major concern is "getting the notes." It should be a piece that you really like and are excited to study in depth. Be sure to learn and memorize your concerto (or orchestral excerpts) well in advance...Last minute preparation usually results in a nervous insecure performance that won't reveal the progress you may actually have made as a musician and instrumentalist.
Learn the accompaniment to your concerto and schedule adequate rehearsal time with your pianist. Judges can immediately tell if a performer is unfamiliar with the entire score. At least two weeks before the competition or audition, seek opportunities to perform your concerto or excerpts for friends, family or studio class. You'll learn a lot each time you play under pressure, and on the day itself will walk on stage more confidently.
Also, begin visualizing yourself performing for a panel of judges. Notice how calm and poised you look even though your mouth may be dry and your hands a bit cold with nervous excitement. Physical manifestations of nerves are normal and should be reckoned as a sign that you are "up" for the special moment at hand. Notice also what you are wearing and be sure to try it out in advance to ascertain if it's comfortable! Sense your listeners pleasure as they respond to your well prepared, thoughtful, performance.
The week before your big day, be diligent about getting enough sleep and eating regular, nutritious meals. Cut down on or completely eliminate caffeine (not only coffee and tea, but also soft drinks, including Coke and Mountain Dew). Add some stress-reducing physical exercise to this regime and you'll feel even more centered when it's your turn to play.
When you arrive at the competition/audition site, resist the temptation to chat with friends while you wait to play. Smiling and talking can tire your embouchure (an occupational hazard!) and distract you from your mission: to make beautiful music. Bring a book or a quiet diversion in case you encounter an unexpected delay.
After warming up adequately rest until just a few minutes before your scheduled time. Breath deeply before walking on stage and take time to tune carefully with the piano. As you begin to play remind yourself to sing! At the conclusion of your performance, act in a professional manner, accepting any applause graciously.
Once you have learned the judges' decision, evaluate your performance as objectively as possible. What went as well as, or even better than you'd hoped? What could have gone more smoothly? If you receive written or verbal comments from the judges, profit from suggestions offered, remembering that sometimes you may encounter conflicting opinions. Whether or not you've won a prize or an orchestral position, your goal is now to emerge from your competition experience more enlightened about your own ability to communicate. Always be proud of gains made; these will be cumulative as you prepare for your next competition or audition. Most important, celebrate your own process of evaluation...The greatest benefit of "seeking together." Leone Buyse

Thank you very much, Dr. Payne, for your wonderful contribution to the topic.

If you have any thoughts on this topic or other ideas related to private studio teacher, please contribute them!