One of the most flattering moments for a high school director is when a student asks: “do you think I could be a music major in college?” This shows how important the music program is to the student. A natural first reaction, because you are secretly flattered that a student wants to follow in your profession, is to say of course. A better response is to help the student determine whether this is what he truly wants, and whether his talents and skills are suited to the intensity of a college music program.
If a student assures you that music is the only thing in the world he would like to do, then help him determine whether he enjoys the high school music program for the social dimension it has added to his life or whether he truly enjoys the study of music. A second consideration is whether the student is musically talented and has developed his skills to an appropriate level.
A Love of Music
Once in college, many students find they were passionate about their high school music program, but are not passionate about the study of music. They enjoyed band camp, masterclasses, marching practices, competitions and concerts, but when actually enrolled in music school, they find they do not like practicing several hours each day, drilling music theory aural skills or completing the reading assignments for a music history class. After a semester of this challenging curriculum, many opt to change to another field.
If you can help a student discover whether it is a music program or the subject of music that he most enjoys before he applies to college, you have served him well. After several years of observation, most directors already know whether a student thoroughly enjoys all aspects of music study or only the social aspects of the program. The goal, however, is to help the student discover the answer for himself. Look online with him at freshman music major curriculums for several schools and ask whether these courses look interesting. Encourage students to take a private lesson with a university’s applied music professor and discuss the four-year curriculum (etudes, solos, concerti) and graduation requirements. Usually as students delve into the college curriculum and requirements, it clarifies whether this is the right path.
Skills and Talent
Over the years many high school band directors have said they are sending me the most talented student they have ever taught. When the student arrives, I find he can play the right notes at the right time and in tune. This is not enough. Talented, well-prepared students should have an overall intellectual musical plan. This includes a good sense of sound color with changes on various notes to enhance expressiveness, a natural command for the technical aspects of the instrument, and a highly developed sense of pitch. Instinctively a good student is in command when he performs.
At this point a student who wants to major in music should have a broad repertoire of etudes, solos and concerti. He likely reads about music and mostly listens to classical music. Helping a student discover where his level of performance is in relation to other freshmen music majors can influence the decision about whether to major in music.
Other Options
If it turns out that the student is unsuited for a major in music, there are usually many other opportunities to participate in college ensembles as an amateur and to continue to take private lessons. Community bands and orchestras are another good choice. Encourage all students to continue to enjoy and participate in music no matter what career path they choose.
Education vs. Performance
Once the decision is made, the next choice is what type of music major: education or performance. Which degree the student chooses to pursue will determine whether a conservatory, school of music, department of music or a community college is the best option. For many years, the thinking was: if you can’t play, then teach. Of course there are thousands of teachers who can and do play, but have chosen to change students’ lives through music education. So ask your student how he wants to earn a living. Breaking into the classical performance venue requires talent, perseverance and luck. However, getting a job in the shrinking educational market presents its challenges too. Many students pursue a double degree in music education and performance to ensure a more secure future. I encourage double degree majors to continue their study by taking a master’s degree in performance and a DMA in performance with a minor in either music theory or music history.
The National Association of Schools of Music (NASM) is the accrediting agency for music schools. Founded in 1923, it has accredited 630 institutions in the United States to ensure a uniform method of granting music credits and developing and maintaining a basic standard for music degrees.
Standardized Tests
When students take the ACT and SAT examinations, they should take extra care when filling out the supplementary materials accompanying the test, especially the section concerning extra-curricular activities. Many financial aid advisors award extra money based on this section. When my students are in the eighth grade, I encourage them to create a file on their computer listing everything they participate in as it occurs, both musical and other activities. When this question appears on a test or on college applications, they have accurate and complete information available.
Research Schools
Encourage students to research a variety of institutions. There are a multitude of sources available today, starting with the school’s catalog. As students narrow the field of schools, they should make a list of school choices and include a safety school or two.
Students who are happy with their college selection are usually those who visit the campus during high school. If possible schedule the visit when one of the university’s large ensembles is presenting a concert or the applied music professor is performing. If the student does not like what he hears, then he should remove the school from his list.
Another option is to stay in the dorm for a night with a friend who currently attends the school. Often schools have programs in which a prospective student can shadow a music student for a day. If possible, sit in on a music theory class, music history class and a large ensemble rehearsal. The best schools require students to regularly study chamber music, so inquire about the chamber music program.
During a four-year bachelor’s degree program, the applied teacher is the primary mentor for the student, so students should schedule a lesson with this professor. When scheduling a lesson, ask if there is a charge to prevent any awkwardness at the time of the lesson. Teachers often offer these lessons free of charge as a recruiting tool, while others charge their regular rate.
Many professors consider this lesson to be a pre-audition hearing, so students should prepare carefully. I send my students with a repertoire list to give to the professor at the beginning of the lesson. The page includes the student’s name, address, phone number and email address followed by his repertoire. Repertoire is separated by categories. Headings might include: Etudes, Unaccompanied Solos, Solos with Piano, Concerti, and Chamber Works. An asterisk is placed after compositions to indicate a public performance. Many professors have commented that this was extremely helpful because they could see what a student has accomplished and what should be done in the future. After the lesson, students should send a written (not emailed) thank you note. If there is not a good match with the teacher, it is better to find out before applying to the school.
Application
Encourage students to complete the application materials as soon as possible. Several top conservatories require pre-audition CDs or DVDs. If students pass the first round, they are invited to an audition at a later time. During the junior year, plan CD pre-audition programs as well as audition programs. Many schools have specific requirements. Follow them to the letter. Take care in making the CD or DVD. If playing with piano, be sure the piano is in tune, and there is no ambient noise in the background. Hire the best accompanist and dress appropriately. The CD/DVD label should include the student’s name, address, phone number and email address plus the recorded repertoire including movement titles.
The Audition
Directors and private teachers should help students prepare for the audition well in advance. The audition is similar to a job interview and non-musical aspects play an important role. Students should plan to arrive at the school the day before the audition, so they are well rested and not rushing to arrive on time. Find the audition site early so there is time for a proper warm-up. This does not mean playing straight through the audition pieces, but playing through the basic fundamentals. Tell students that when they walk into the audition, they should feel warmed up and comfortable playing – the point where everything feels easy to play. Several months ahead of the audition, students should work out a warm-up routine with their private teachers. If they practice with it regularly in advance, it will help them relax and comfortably prepare on the day of the audition.
Audition days are busy for professors. Usually there is one audition scheduled after another at 20 to 30 minute intervals. Arrive at the studio ahead of schedule so the professor will not have to wait. Students should enter the room ready to go with the instrument unpacked and music at hand. Always remind students to perform from original copies. I know several professors who will not listen to an audition or a lesson if the student appears with copies. Students should look professional and dress up. It may be advisable to give students some specific advice on appropriate dress.
If the student has not previously met with the professor, this is the time to present a repertoire list. This will break the ice and offer a topic for conversation. Remind students that the audition is not just about their playing abilities, but also whether the professor thinks they have the personality traits to succeed in a teaching or performing career. Students should practice their interview skills with their director, private teacher, and family. Remind them to speak clearly in full sentences. Another good option is to video tape several interviews.
Students should listen carefully to what the professor asks for in the audition. Many times a professor will say, “play the A major scale followed by the relative melodic minor scale, slurred.” The student begins to play before he has thought about what he is doing and has to stop and begin again. It is far better to think for a moment and then play. Scales are not just about the notes. Teachers listen for tone, intonation, evenness of timbre and whether the scales have phrases and sound like music. Students who phrase are accepted into programs. The professor is also looking at a student’s set-up. Fixing basic problems is a time-consuming process, and many busy professors opt not to accept these students.
If playing without an accompanist, most professors do not care if students play at A=440, A=441 etc. However, what they are listening for is if the audition begins at A=441, then it should finish at A=441. When students play with an accompanist, they should tune carefully with the piano. If the university provides an accompanist be prompt for any rehearsals and polite.
Students will likely not play the entire audition repertoire. Usually the professor will tell them to stop and jump to another place in the music. In the months before the audition, students should practice starting with each of the compositions, so there are no surprises if they play the works in a different order.
For excerpts students should research the composer, the composition, style period and any important information about the piece. Besides practicing the excerpt, they should learn the entire first part and practice playing the complete piece with recordings. Many a student has left a poor impression on a professor in an audition because he did not know the entire composition or who the composer was.
After the audition students should thank the professor for his time. Good manners go a long way in the music business. A student may choose a different school, but the music profession is a small network of individuals, and you never know whom you may meet again at a later date.
Most professors are busy people. Besides teaching, they are busy with their performing careers. When listening to prospective students, most look for students they think they can help obtain a goal. One well-known professor told me she did not always take the best players. When I heard her studio perform, I knew what she was looking for – students who could listen carefully and create musical phrases. She knew she could teach them technique and repertoire.
Professors also want students who do not have significant problem areas to fix. If a student consistently has trouble with the beginnings of notes throughout the audition, this signals to the professor that his listening skills are not very acute, or he would have fixed the attacks. Professors are also looking for students who can shape phrases and have a sense of line. They look at whether students know what to do with the non-harmonic tones, especially the appoggiatura (strong/weak) and have a sense of what playing their instrument is about. Professors also seek students who have intellectual curiosity because just playing the notes is not enough.
As students plan for an audition day, they should carefully prepare every detail. Make the decision to accept easy for a professor.
Tips for High School Students from a Music Major
Take responsibility for yourself. If you are not taking private lessons, now is the time to start. Follow the teacher’s advice. If you do not have a professional-level instrument, begin saving for one. If you are purchasing one, collect as much advice as you can and play the instrument before making your final selection.
In your junior year begin to plan for the college selection process. On a calendar, mark the dates for application and essay deadlines, campus visits, private lessons, and audition days. Develop a regular practice schedule so you will always be at your best. Plan your days so you get enough sleep, exercise regularly, and eat a balanced diet.
Organize practice sessions so you arrive on audition day with everything prepared at performance level. Attend a summer music festival for enrichment. To help with performing nerves, present several practice recitals for family and friends to rehearse performing in front of an audience.
Take piano lessons as every music school has a piano proficiency exam to pass. The sooner you pass the proficiency exam, the more time you have for other projects. Good piano skills help you complete your music theory homework faster and aid in analysis projects.
If possible sign into an AP theory course in your junior or senior year of high school. If one is not available, check out theory texts from the public library and practice the exercises. Become a whiz at the fundamentals of music theory. Be prepared to spell and play all major, melodic minor, chromatic, and whole tone scales; triads and seventh chords. Be able to play these basic fundamentals with a variety of rhythms, articulations and dynamics.
Make up any deficits in your etude, solo, or concerto repertoire. Listen to a variety of artists on your instrument to aid in your musical development. Research every composition you play to learn more about the composer, the style period, the genre of the composition and any special historical implications the piece may contain. Listen to all the Beethoven Symphonies with a full score. This may be some of the best music ever written.
Read a music appreciation textbook to get an overview of music history. Observe how events in music history relate to specific times in American and World History.
Take an anatomy course so you will understand how the body is put together so you can practice injury free. Study a foreign language (Ital-ian, French, or Ger-man). Learn to write. Keep up your grades. Keep reminding yourself that everything you do now is helping make you a better musician.
