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High School Flute Audition Tips and Tricks

teacher avatar IFlute, All Things Flute!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (21m)
    • 1. About Me!

      2:00
    • 2. Just got my all state music...now what??

      4:49
    • 3. How to Increase Tempo Without Compromising Tone and Technique

      10:45
    • 4. How do I set myself apart from the other flutists?

      3:35
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About This Class

This class contains information about how to prepare and compete in a region or all state flute audition. While I will specifically mention the Texas TMEA audition/etudes, this course is equally beneficial to anyone looking for tips on getting ready for that big audition.

Class Topics...

  • I just got the 2020 TMEA high school¬†flute¬†etudes, now what?¬†
  • How to¬†increase tempo without compromising tone and technique!
  • How do I set myself apart from ALL the other flutists auditioning?

Meet Your Teacher

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IFlute

All Things Flute!

Teacher

Hello!

My name is Carrie and I am a flutist who is here to share my skills and knowledge that I have gained over the 20 plus years that I have been playing the flute!

Here's a little bit of my background... I grew up in Tennessee, but have lived in Texas for the past 8 years. I began playing flute at the age of 5! I went to Interlochen Arts Academy for my senior year of high school (that is a school in Michigan that is all about the arts!) I then moved to Texas to study flute in college. I have a Bachelor's degree from the University of North Texas and a Master's degree from Texas Christian University. I am currently an elementary music teacher in the Dallas/Ft. Worth area at a school with over 700 students!

I enjoy making YouTube cover videos on my flute (chec... See full profile

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Music Flute Creative Tip Tips

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Transcripts

1. About Me!: how many miscarry and I'm here to share my knowledge with you and the hopes that you can take a waste and useful tips to help you become the best flute is he could possibly be. Now, before we get started with lessons, let me give you a little bit of background about myself so that you can get a better idea of the experiences that have shaped me as a flutist and musician. I'm currently in my mid twenties. I know I can't believe it either, and I've been playing a flute since I was five years old. That's over 20 years of getting to know the ends and outs of this hunk of metal. I've had the privilege to learn from a countless number of fantastic flutist and music educators, all who have played some sort of role in shaping who I am as a flutist and musician. I grew up in Tennessee, but I've been a Texan for the past several years. I participated in all of the region and state bans and orchestra auditions growing up in Tennessee, and I was actually first hair in the Tennessee State bands, and the following year I was first year in the Tennessee State Orchestra for my senior year of high school, I was accepted into Interlochen Arts Academy, which is an amazing high school in northern Michigan where students go to study music, art, dancing and even creative writing. And they learned to perfect their craft underworld class educators. I then came to Texas, where I did my undergraduate degree and flew performance at the University of Texas, followed by my master's degree from Texas Christian University, also in flutes. My goal with ease skill share lessons is to give you some tools that you can use to further your skills as a flutist. If you find even one thing that I teach you to be useful, then I will consider that a success. I know that in all of my experiences, learning from private teachers, monster classes, conductors and even my peers being able to take away even one bit of useful information has helped to make me about her flute player. Now that you know a bit about my background, I hope that you'll allow me to share some of my favorite and most valued skills that I've learned over the years 2. Just got my all state music...now what??: getting the attitude. Music is one thing, but knowing what did you when you have it can sometimes be one of the scariest thinks so let's figure out what we should actually do. See that music on a music stand for the first time? So how do we actually approach these attitudes once we get them on a music stand in front of us? Step one. Don't be afraid of them. It could be slightly terrifying Looking at a piece of audition music for the first time and being to yourself Oh, my gosh, I'm supposed to know how to play all of this in a matter of weeks or months or whatever your timeline might be. And it could really be a scary hate. Some of the most common comments I've heard from students that first get their music is Oh , my gosh, I'm never gonna learn this intact or this is way too hard for me. I can't do this. So what you can do when you get that music and you start having those thoughts racing through your head is to tell yourselves Number one? Yes, it is hard. And yes, I probably can't do it right this second, But guess what? I'm gonna practice and I'm gonna learn the music and I'm gonna be a little Play this down the road and I'm gonna be laughing at myself later on first thinking that I could never do it. Step 21 of the common mistakes that I see is a student will have three a tubes or maybe even more. And they know that they've gotta learn all three of these by this time. And what they do is they look at all of the music and will try to learn all of it and play it all really fast and gets super frustrated because there so many notes and so much that they have to learn in such a short time. So for stuff to all you do is take it one step at a time. I really encourage my students to start with 1 18 and learn a chunk of that first. Don't try to learn all three etudes at once because that's just gonna set you up for getting really anxious about it and ultimately not doing your best when you're learning the etudes Number three is start with the basics. So there's lots of things to do when you first look at that music before even pulling her flute out and trying to play any notes. One of those, especially with Texas region and all state music, is to go online. T Me is at work and look at the Arata and the notes that are written for your instrument. So erotic just means errors. So you're looking to see what errors are in the part that need to be fixed when you have music. That's often from the Baroque period of the classical period, and it's been edited and published a number of times. Lots of times will be little mistakes that sneak in, depending on which publisher has published in music. So it's not unusual for there to be a few errors from time to time, things like maybe a notes incorrect. Or there's a rhythm that's a little funky. Or maybe an articulation that didn't get transferred over from the ritual composer. So make sure those things are written in your music before you ever play a note of 80 other big things to look at before you start playing our key signatures. Time signatures, accident ALS. I am a big fan of might be in my music. One of the first things I'll do before even playing is look through Mark. Any tipo changes any time signature changes, look a really funky accident ALS and make sure that I've got anything circled or even color coded, so that I could be set for success before you can play the first note. Another thing that's important is style, so knowing how the piece of music is supposed to sat is really important. The way you could figure out the style of a tube is to look at those Italian words that are written throughout your piece and figuring out what those words actually need, because those air literally telling you how to play the piece and again T media has made this really nice. You just go to the website and look up your instruments and underneath the Arata section, there are all of the Italian terms listed better on that 80 and you can find the English definition of the words you going at the very beginning and write in those definitions and mark up your music to help yourself there going to be already one step ahead of the game when it comes to learning these attitudes, My last tip is to listen to a reliable recording. Really great resource is going you two and typing in the name of these etudes and finding some flutists. You have recorded these and listening over and over until you get that melody in your head . If you go to YouTube and type in my user name, I flutes you confined the 2020 21 TV AOL Statesman 18th that I have recorded for you. These are intended to be a listening tool as well as it will help him practice. Take it one day at a time and before you know it, these attitudes will become second nature to you. Good luck. 3. How to Increase Tempo Without Compromising Tone and Technique: in this class, we're gonna be talking about how to increase your tempo on an 80 that you're playing without compromising your tone or your technique. So one of the things that tends to be the hardest when working on these attitudes for a region or an Allstate audition is getting your tempo up to the speed that's recommended. So today I'm gonna walk you through how to practice building up your tempo without sacrificing your tone and your technique. For example, today I am going to be using an A tooth from Car Gaylor, and this is the 3rd 88 in Hiss Siris of 30 Caprices. This number three. It's an F major, and it happens to be the first selection of the team. He a 2020 Allstate flu auditions. There's a lot of finger work going on. If you look at Measure 14 there's a very fast 32nd new turns. So first of all, if you actually look at that first turn, you got see natural to D, and in order to do that, C. D. C. Really quickly. Instead of going from a C and then adding all these fingers for a D and going back. There's no time for that. So what you're gonna do is you're gonna do a C. Then you're just gonna add that first troll finger in order to play the D. So it's gonna go see d. C really quickly. Little tricks like that are very useful when you're trying to work on an aged where speed is one of the main elements. And this attitude is definitely one where you need to have your fingers cooperating for you old times. So the first thing I like to dio what I'm looking at, Measure 14. I see the underneath the word Grassi also is written, and that's an Italian word that means graceful. So as you're playing this, your mind might be a little bit frantic, and your fingers may even feel a little bit frantic. But you have to make it appear as if you are graceful, because that's the instruction from the composer. So how do we play gracefully? Will return if it all of those notes into one measure something has to do with is your fingers. If your fingers are flying off of your keys, there's no way you could be graceful because there's literally not time for your fingers to get back without making lots of noise. I give way to practice. Having graceful fingers is actually look in a mirror and watch yourself as you play and see which of those fingers are going too far away from the key says your plane. And that will be a good indicator of what fingers you need to watch for when you're playing technical passages. Another saying that will help you sound graceful as you are playing. A very technical part of nanotube is your air and letting your air continue through the entire measure or the entire phrase and I'm gonna play it is just a medium speed. I'm not gonna play it up to tempo yet, and I just got to try to play it gracefully. So I'm thinking about my fingers being close to the keys as well as my heir continuing through each note. Okay, so I'm keeping my fingers as close as possible to the keys, and then I'm keeping my air going. Now you'll notice that there are some different articulations and here you've got four notes slurred, followed by two notes that our tongues. So when you have those two Cotto's. That doesn't mean your air has to completely stop. Your tongue is just interrupting the air. But you're keeping that air fluid throughout. Okay, so now we know what our style is and how it needs to sound. But now we gotta figure out how am I gonna fit all those notes in and play up to speed? So if you go to TME, I don't work. And you look at that first acute, it gives you a temple range that you are supposed to try to achieve. As you're learning this a tube you can start at the low end, which is 104 And if that is the most comfortable speed for you, then that's where you should stop. If you feel like you wanna go faster, it gives you all the way up to 126 beats per minutes. And that's the quarter note beats. So it's kind of up to you how comfortable you feel with your fingers. Now, if you're getting up to 1 2124 your fingers are all over the place and you're not able to be in control of the notes that I would suggest taking it down a few clicks and there's no shame and doing it at the lower end. And I actually prefer who want to afford toe 1 26 for this particular agent. I feel that 1 26 is a little bit on the fast side. So with that being said, let me show you how I worked up the speed of a piece. So I like to take my Metrodome, and I just use the Metrodome on my film. This is called tonal energy, and it is tuner as well as the Metrodome and have a lot of really cool features, and you can get this on the APP store. I think it's a couple of dollars, but it's well worth it. But if you don't want to spend any money, you can also download plenty of free Metro NMS. You can also go online and just type in free Metrodome, and there's several mentions online that you can access for free. So let's say my gold tempo. My top temple that I want to get to is 104 beats per minute, so that's my quarter notes, so I'm obviously not gonna start there. You never want to start at full 10 vote. You need to give your fingers and your brain time to process the notes that you're playing in style. Okay, so I've got my measured, um, set at 60 coordinator beats per minute. And I'm starting at measure 14 and I'm just playing that one measure. I am looking for three things while I play and making sure my fingers are nice and close to the keys. That's gonna be really helpful once we speed up the tempo. I'm also making sure that my air is flowing throughout the measure. And then the third thing I'm watching for is articulation, making sure that my articulations match exactly what's on the paper. And another thing I like to do. This is just a personal thing. But I find it to be really helpful is what I'm playing a measure and I'm stopping at the end of that measure. I like to play the first knew of the next measure just to kind of continue the phrase so that I don't get used to stopping right at the end of a measure. And I get used to that phrase continuing. Okay, so that was 60 beats per minute. But maybe you're not quite up to that, Timbo. Even you can slow it down even more if you start going lower than 60 beats per minute for your quarter note. I would suggest that you start adding in subdivisions. So another really nice thing about this tuner is you can go up to the top and you can actually tell it to add the eighth notes subdivisions, which is what I'm gonna dio. And that really just helps you to keep track of where you are in the measure. Once it starts getting really slow. And that quarter note tempo gets slower, it gets a little bit hard to track where you are in the measure and to keep that study be in your head. So let's say I need to have it at 50. I'm gonna bump it down to 50. Okay, so there's maintenance of divisions. Let's try it like that again. Looking for those three things I mentioned before. And another thing that's really great about starting very slow is that you're not learning bad habits. Don't let yourself go on. If you miss it, articulation or you miss a note or something's not right with a rhythm, make sure you go back and fix that. When I was sitting with my teacher in high school, we used a system called the Magic Number System. So when I would walk into my lesson each week, my teacher would ask me, What is your magic number for this? A tube? Or for this solo peas? And I would have to tell them my added numbers. 80 from Imagine Numbers 92 or whatever it what? So what a magic number is is your perfect tempo, which means you can play everything at that tempo correctly. Your articulation is correct. Your intimations correct your breathing, your style, the dynamics. Everything is correct, and you're able to play it comfortably at that tempo. So with my magic number right now is, let's say it's 60 because I just played it 60 earlier. So my magic number 60 and in order for it to be that number, I have to make sure it checks off all of those things. So let's say, have mastered 60 beats per minute for this measure. I've been practicing this measure for a couple days, and now I have got it at 60. I can check off all of those things that I mean for my magic number to be correct. So the length of time that you're on a certain magic number just has to do with you personally. How long does it take you to get that articulation? Correct? Every time you play it, I have a rule for myself. If I can play it three times in a row perfectly, then I've mastered it. If I play it one time and it's perfect, and then go to the second time in a miss a note or Mr Articulation, then I have to start back over at one. So you want three total times in a row to be perfect. And then I'm pretty convinced that I've mastered it and I'm able to move on now. I'm gonna bump it up. We're gonna speed through a few weeks of practice and let's say I'm at 92. So my new magic number is gonna be 92 right? I'm pretty satisfied with that. Now we need two more times in order for me to be convinced that I've got this magic number down. Okay, One more time. So you're gonna keep practicing like that until you've reached the tempo that you're most comfortable with. I will say that this particular 80 tempo is a little bit fast for what I think it should be . It's listed 104 to 1 26 on the team Me a website. But all of the public domain resource is I see 92 as the temple marking, So there's a little bit of a discrepancy there with the tempo, I will say as someone sitting behind the screen as a judge. I haven't seen anyone sitting there with a matter no tapping along, making sure you're playing at an exact tempo as a judge for these blind auditions. I don't want to be sitting behind the screen and freaking out along with you as you're trying to get your fingers to cooperate and play up to that really extremely fast tempo. So if 90 or 92 or 94 is your absolute best and it's your magic number, I say stick with it and own it. I'd rather hear someone play a little bit under tempo with really clean and accurate fingers, then to hear someone play at tempo but extremely sloppy and with no control over their instrument. Hopefully, these tips are helpful for you as you work on speeding up your attitudes and working up to those final performance 10 boats. If you have any questions about working on specific measures in these attitudes or any other H foods, you can always leave me a comment and I'll do my best to answer it. Thank you for watching, and I will see you in the next lesson. 4. How do I set myself apart from the other flutists?: have you ever wanted to know from the jet? Is perspective exactly what they're looking for in a blind audition? I know that I have had that question growing up and even in college, and any time I've had an audition, I always want to know What is that judge wanting to hear from me? What is that one thing that I need that's gonna set me apart from every other flutists that's auditioning that day? I can tell you that from my perspective as a judge, there are four main things that I'm looking for when I'm looking for that flutists that's gonna stick out and stand out above all the rest. Number one is play in time, so that has to do with your rhythms and your temple. If it's obvious that your tempo is all over the place and your rhythms air inaccurate, that's something that's automatically gonna lose you. Lots of points for me as a judge and also someone who has taken blind auditions. There's never any room for excuses when it comes to rhythms your rhythms after be accurate and you have to play what's on the page. There also isn't much excuse when it comes to playing in time and actually playing at a steady, consistent tempo. Musicians have this wonderful thing called Metrodome, and you have to use it, and you have to work with a diligently in order to play in time consistently. Never too play in tune. It's always very jarring when a flutist comes up and they're extremely flat or extremely sharp or, if they're tuning, goes both ways and it's all over the place during their plane. That shows me that they haven't spent a lot of time listening and sitting next to a tuner and listening to other people as they play. If you don't want your fleet to be flat, make sure that you're keeping it warm while you're waiting and also just know you're flutes tendencies, every flutes a little bit different, and every flutists plays a little bit differently. So no, your instrument and know which notes we're gonna tend to be more flat or sharp. Number three is play correct. Newt's. This may seem like a no brainer, but I cannot tell you how many times I've heard fluids come up for their blind audition and play just completely wrong. It's sometimes I've been listening and wondered. Are they actually playing the same? A two that I'm looking at on my piece of paper right here. For me? That's gonna take off a ton of points because that's one of those first initial things you should be doing. Don't let yourself learn incorrect notes. If you miss a no in your practice session market, any time that I miss and no in my practice session, even if it's the first time it's happened, I go in and I'm market because I don't want to learn, earn an incorrect note and have that chance for making those mistakes later on. Number four is the axing on the cake. And if you've done all of those other three things I'm looking for and you have this fourth thing happening than I am definitely listening intently to your audition, Number four is play musically out of 100 flutists that come up and play their blind audition. I can honestly tell you that there may be 5 to 10 that I hear actually playing musically. That means they're using dynamics. The librato is a part of their sound, and you could feel the expression in the room as they're playing. If you can do all four of those things, then I guarantee you you're gonna have the judge's ears and you are gonna be setting yourself apart from all the other flutists in that room. Good luck on your audition and let me know if you have any questions.