AYO insider tips: How to record a standout audition

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Thinking of applying to the Australian Youth Orchestra? In a recent recorded information session webinar, AYO’s CEO Kimbali Harding, Director of Programs Warren Lenthall, Residential Coordinator Georgia Gamble and AYO participant and cellist Maggie Wang shared their insights into how to approach the orchestral auditions — from preparing excerpts and structuring your recordings to getting the technical setup right. 

Get your set list sorted 

Before you start practising, it’s worth getting clear on exactly what’s required. Different AYO programs have slightly different audition expectations. All instrumental applicants are required to submit a recorded audition. For the audition, applicants must perform a set of AYO orchestral excerpts and a short piece of their choice for most instruments. 

As Warren explains, the application system on the My AYO Portal guides you through this, but broadly: “The National Music Camp and the Symphonists program require submission of what’s called the ‘Set A’ excerpts. And then the AYO flagship and other extension programs require you to submit Set A and Set B. So make sure when you do apply, that you read through all that information on audition requirements which also gives you a good list of tips on how to prepare your audition.”  

Alongside the excerpts, you’ll also need to submit an own-choice piece. It’s important to note that the excerpts and the own-choice piece are equally as important as each other. “Sometimes there might be an assumption that the own choice is more important,” says Kimbali. “They put all their effort into doing, for example Zigeunerweisen on the violin by Sarasate and they don’t really spend a lot of time looking at the excerpts.” 

AYO participant, cellist Maggie Wang, adds from her own experience: “I think it could be a common misconception that your own work is more important, but for an orchestral audition  the excerpts are very important for the adjudicator to judge your ability to play the excerpts in context with the whole piece… so I think both are equally important.” 

Preparing your excerpts (and thinking beyond the notes) 

A defining feature of AYO auditions is the weight placed on orchestral excerpts — and more specifically, how well you understand them. 

“Orchestral excerpts make up a big portion of the AYO audition process… it’s important that you take some time and really sit down with your teacher, and learn the context of each audition excerpt,” advises Warren.

“Some of them may look just like a short, 8-bar phrase that’s not particularly hard to play. But the panel that assesses you will be very interested in how you play that phrase or that piece in context of the overall work, and that you can demonstrate an understanding of what else is happening in the orchestra. And also that you make decisions about how you perform it based on your knowledge of the piece.” 

 For Maggie, it means listening widely and thinking carefully about your role: “To do that, I would encourage listening to the whole work… listening to what’s around it, listening to your role in the excerpt. For example, are you the accompaniment? Are you the secondary melody? Are you the main melody… understanding your role… would really shape some of the music choices that you make.”  

Residential coordinator and AYO double bass alumna, Georgia Gamble,  agrees, particularly for instruments that don’t always carry the melody: “Perhaps we don’t have the most iconic line or the melody, but knowing that piece, from recordings and what your teacher says… sometimes takes more than a lesson to really dive into the era…. And the sooner you start, the better.”  

Practising the recording (not just the playing) 

For a number of years now, the AYO auditions have been entirely pre-recorded. Maggie recommends building recording into your practice routine well before the deadline. “One of my main pieces of advice would be to do practice recordings of your excerpts and your own piece, and kind of be like your own teacher: really look at your recording and take some notes about what you could improve, what you liked, what you didn’t like… that really saves you from a lot of stress when you’re doing your actual recording.”  

Georgia suggests making this a habit, rather than a one-off exercise.

“Definitely have that spot set up at home, or in your music room, where every now and then you just get that video camera out for the sake of it… there is nothing stopping a participant from giving it a good old try once a week up until the due date.”  

She says the more familiar the process becomes, the more natural it feels. “A little bit of familiarity and getting into the zone, so it’s less nervous or less foreign is what will help you with your audition success.”  

Kimbali also points out that recording auditions are now standard across the industry. “A lot of the professional orchestras and a lot of the conservatoriums around the world are using digital auditions, so this is a really good life skill as a musician to become familiar with and to practice.”  

Recording your audition: structure and approach 

Audition recordings can be submitted any time until 11 August (strings) or 13 August (all other applicants). “We advise applicants not to leave submitting their auditions to the last minute,” says Warren. 

When it comes time to record, there are a few clear requirements. You will need to make two videos; one for your excerpts, which should be recorded from the first excerpt through to the last one, and a separate recording of your own-choice work. 

“In the excerpts recording you should not make any edits to that video, it should be constant video all the way through,” says Warren. You can take a breather, and have a short break from playing between excerpts if needed, but the idea is to simulate a live audition experience. 

At the same time, there’s flexibility in how you get there. You can record multiple takes — just try not to overthink it.  Some applicants may do three recordings on one day and then choose the best one for example. 

The main message? Don’t get too stressed about getting the ‘perfect recording’, says Kimbali.

“What the audition panelists are looking for is not technical perfection. They’re looking for musical fundamentals like rhythm, intonation, phrasing, sound and tone quality, but more importantly they are looking for musical expression and awareness.”

“So please, do not get too stressed about getting the perfect video. Maybe do it once or twice. Have a go one week, give it a break, come back and do it again a little bit later. Getting into a cycle of doing it again, take after take for hours and hours is not actually valuable. That’s not what the auditioners or the panellists are looking for, and that’s only going to cause you stress and be a really negative experience.”  

Getting the tech right 

“One of the greatest skills that AYO can teach you is how to record an audition, and how to listen, and acknowledge your video footage,” says Georgia Gamble.  

A clear and reliable setup helps ensure the panel can hear and see you properly, but you do not need anything too elaborate. “Most of the phones nowadays are pretty good… but just making sure that you’re in the right acoustic, the acoustic that’s going to best suit your instrument… is really good advice,” says Kimbali.  

If you do have access to additional equipment, it can help enhance the result. “If you have access to a USB, Yeti microphone, or another type of microphone that gives you just a little bit of an extra microphone quality, then that’s something that we would suggest.”  

Warren highlights the basics: “Make sure the panel can see you in the video clearly… [and] the noise that your instrument makes is both clearly heard, but also not distorting at any point… ensuring that what you submit best reflects the standard that you’re at.”  

Georgia offers a memorable reminder from experience. “I think back to a bit of a faux pas I made in my later years. I purchased a video camera for my auditions with an attachable microphone.  I mustn’t have clicked the microphone on, so I remember looking back at the footage and thinking, wow, I look great, and then very shortly after, realizing there was no sound. Of course, that’s the one I thought I did the best in.” 

Quick summary – AYO audition tips 

• Check whether your program requires Set A or Set A + Set B 

• Prepare both excerpts and own-choice — they’re equally important 

• Listen to an orchestral recording of the work and understand your place in the ensemble – take time to learn about the background of each work 

• Start early — deep preparation takes time 

• Practise recording before your final takes 

• Practice recording regularly to feel comfortable on camera 

• Review your recordings and self-assess 

• Limit takes — don’t fall into endless re-recording 

• Choose a space with good acoustics 

• Ensure clear audio and video 

• Check your equipment carefully before recording