The Collaborative Piano Blog

31 Days to Better Practicing: A New Location and Why It Will Always Be Free

2013-03-31T10:46:00.000-04:00

In the summer of 2011, I published 31 Days to Better Practicing, a free ebook about how to practice. Since the ebook went live, I'm glad to say that it has received over 7600 downloads to date, has been read and shared by students and teachers alike, and has become standard reading for numerous piano pedagogy classes across North America.

Nevertheless, the internet is a changing place, and Posterous, the platform on which 31 Days was originally published, will be shutting down at the end of April. The move has been made and I'm now glad to announce its new location on the Scribd platform:

31 Days to Better Practicing by Dr. Chris Foley

Many of you have asked why I never opted to publish the book through a traditional publisher, or why I don't sell it on the Amazon store, even for a small amount. If you read closely, you'll see that the book is peppered with clever links both to the Collaborative Piano Blog and my home studio. Of the thousands of people who read the book, a certain percentage will be readers with access to my Oakville or Toronto studios. From that group, a certain percentage will opt to study with me.

Quite simply, I'm making more money by giving away the book for free and recruiting students than if I were to make money selling the book. I'm sure I could sell a couple of dozen copies a month in music stores or perhaps a couple hundred copies a month on Amazon. But the amount of income I can make by giving away the book to thousands of readers and recruiting students as a result of it is considerably greater.

Since the book's publication, my studio has ballooned to nearly 60 students from beginner to professional. I have a waiting list that extends into the summer.

In other words, I gave away something for free in order to generate income elsewhere.

Below is an embedded copy of the ebook in case you haven't read it yet. Enjoy!

Meme of the Day: Rep Worth Avoiding

2013-03-20T08:52:00.000-04:00

Take a C. Bechstein Piano Quiz and Win a Free Hoffman Upright Piano

2013-03-20T08:42:00.002-04:00

The venerable piano company C. Bechstein has just announced a sweepstakes on their Facebook Page: complete a short quiz and enter to win one of several prizes, including a Hoffman upright piano. To enter, all you have to do is go to the quiz's page and answer six skill-testing questions about Bechstein pianos. Yes, you'll need to be a Facebook member in order to enter. Entries will be accepted until May 20. Good luck and I hope a CPB reader wins this one!

In case you had forgotten what Bechstein pianos can sound like, here's a video of Lucas Blondeel playing a model D concert grand with clarinettist Annelien Van Wauwe:

(Thanks Isabella W!)

Meme of the Day: Austin Powers on Repeated Notes

2013-03-18T09:27:00.001-04:00

This slipped out the other day...

Jorel Rocks his Bar Mitzvah....with his Piano Teacher

2013-03-17T22:06:00.000-04:00

Although it's not the usual practice on the Collaborative Piano Blog to show Bar Mitzvah videos, this one by Jorel is notable not just for his ingenious lyrics, various singing and rapping styles, nor for the awesome piano shots. Nor is the video merely notable for its mention by various major media outlets in the last few days on its way to becoming one of the most viewed Bar Mitzvah videos of all time.

No, Jorel's video is most notable for the special cameo at 2:45 of longtime CPB reader, advisor, and friend Liz Parker, who as Jorel's piano teacher, makes an unforgettable appearance as dancing partner in the Gangman style segment. My goodness, Liz can dance.

Beatriz Boizán Plays the Lecuona Malagueña

2013-03-17T21:55:00.001-04:00

This October 2012 performance of Ernesto Lecuona's Malagueña is by Beatriz Boizán, who is quickly becoming a noted interpreter of Spanish music. If you want to take a look at more of Beatriz's work, check out her debut CD Pasión.

Student Performs New York State of Mind....with Billy Joel

2013-03-17T11:12:00.003-04:00

In a Q&A session at Vanderbilt University, an audacious question leads to a magnificent impromptu performance - Michael Pollack gets the awesome privilege of accompanying Billy Joel in New York State of Mind. At 3:30, listen for the bridge passage sung in the style of Frank Sinatra.

Unfortunately, Michael reportedly flunked his calculus exam the next day.

Gregg Kallor Improvises His Way To Espresso Nirvana

2013-03-15T08:13:00.001-04:00

Pianists are long-time friends of the caffeinated beverage. Improvisational pianist Gregg Kallor's video Espresso Nirvana looks at what happens when you drink too much of the stuff. Best of luck to Gregg on the release of his new album A Single Noon, scheduled for early April. Gregg's bio lists him as a composer well-versed both in classical and jazz traditions, and (classical musicians take note!) I like the way he weaves the concept of the video into what might otherwise seem a dense composition.

Far From the Home I Love: An Analysis

2013-03-11T15:28:00.006-04:00

Peter Hilliard analyzes Far From the Home I Love from Fiddler on the Roof. Some great insights here that both singers and coaches can utilize.

Peter's blog Music Directing the School Musical has a lot of info about what you need to know when taking the reins as music director.

Meme of the Day: Boromir on Practicing Scales

2013-03-10T09:29:00.001-04:00

This one slipped out in a lesson yesterday...

3000 Likes and Counting

2013-03-10T09:24:00.000-04:00

The Collaborative Piano Blog Facebook Page experienced another milestone yesterday, with its 3000th like. For those of you not yet on Facebook, you're missing out, as a lot of the action these days is happening on the CPB Facebook page, including links, commentary, and funny pictures with hidden pedagogical value. I can already think of at least 4 people who have had an inestimable value in helping me with the direction of this blog who have so far refused to participate in Facebook - you know who you are. And I understand that many people in the profession would prefer not to be perceived as participating in social media for professional reasons.

However, a conversation that I had with a professor of collaborative piano earlier this year humbled me, and reminded me of the responsibility that I have with the direction of this blog and its social media outposts. This well-known teacher said that when undergraduate pianists show up for her freshman collaborative piano class, nearly everything that they know about the field is gleaned from the Collaborative Piano Blog. Although I've spent countless lonely hours on this project over the last 7 years (and not as much as I should have with this season's busy teaching load), I'm still surprised when I discover its reach in the musical community.

Thanks everyone!

Blogging the Collaborative Piano Scene...from Malta

2013-03-08T08:52:00.001-05:00

One of the cool things about collaborative piano is the fact that you can make a living in all sorts of interesting places. Jazzullka is a pianist doing the Malta scene, and her recent stories and observations make for some interesting reading. This time of year, the weather in Malta must be so much nicer than the miserable lack of sunlight and warmth here in Toronto.

Incidentally, Jazzulka will be attending the Music Theater Bavaria program this summer, which she heard about via a previous CPB post.

Friday Links - 8 March 2013

2013-03-08T07:33:00.000-05:00

The latest fascinating links from press and blogosphere:

1. Yundi Li vs. Lang Lang. The rivalry isn't going away, even though it might be manufactured.
2. Meri Dolevski-Lewis writes about why cheap music lessons aren't good for anybody.
3. Those who have escaped from the gentle embrace of academia might find 52Tiger's links to a freelancing podcast series quite useful.
4. Color in my Piano looks at the studio management iPad app Moosic Studio, which may eventually give Music Teacher's Helper a run for its money.
5. Columbian harpsichordist Rafael Puyana has passed away.
6. Billie Whittaker digs up three collaborative piano job postings.
7. The final 30 pianists for the 14th Van Cliburn Competition have been chosen.
8. Holly Mulcahy writes about Imaginary Program Notes: What We Can Learn from Children.
9. Erik Joseph Campano's new blog about music theater piano playing looks to be a great resource in the blogosphere. I especially like his article on how to fake it if you're unprepared for rehearsal.
10. Emily Ann Peterson on practicing: don't break the chain.
11. The Sybaritic Singer looks at how to find a collaborative partner.

Finally, here are Tim Fain and Philip Glass playing Glass' Pendulum at the Temple of Dendur in the Metropolitan Museum of Art:

Call for Singers, Pianists, and Chamber Groups: Mountain View International Festival of Song and Chamber Music

2013-03-07T21:45:00.000-05:00

This summer in Calgary, Alberta, the Mountain View Festival of International Festival of Song and Chamber Music will be running from August 4-11, including master class, chamber music, and professional development programs. Artists this summer include Christa Pfeiler, Rudolf Jansen, Kathleen van Mourik, Charles Foreman, and Anton Kuerti. If you're interested in applying, the deadline is May 1. Here are some links:

Mountain View website
Student brochure and application form

(Thanks Kathleen!)

Recitals in Rosedale: A New Series in Toronto

2013-03-07T08:52:00.000-05:00

One of the genuine gaps in Toronto musical life has been the lack of voice and piano recitals at the professional level (especially after the recent winding down of the Aldeburgh Connection). A chance meeting yesterday in the Royal Conservatory atrium led me to find out about a new series with lofty aspirations indeed: Recitals in Rosedale, the brainchild of Rachel Andrist and John Greer. Their 2013-14 season includes a four-concert lineup kicked off by a June 1 launch concert. Below is the season poster, which features a lineup of some of Canada's finest singers. More information to come.

Heads Up: Daylight Savings Time Starts This Weekend

2013-03-05T17:43:00.000-05:00

A big heads-up for all of you with performing engagements this Sunday - Daylight Savings Time starts on March 10 this year for most parts of Canada and the United States. Be sure to put your clock an hour ahead on Saturday evening before you pack it in for the night, lest you find yourself strolling into your Sunday church gig midway through the Agnus Dei.

However, if you live in Saskatchewan, you can completely disregard this post, since you observe Central Standard Time year-round.

Friday Links - 1 March 2013

2013-03-01T06:36:00.001-05:00

Here are some links from around the blogosphere that might be of interest to musical folks. I would like to make a regular feature of these weekly links, so if you have any blog posts or other interesting articles to share, email me and I'll see if I can include them in the next instalment.

1. Matthew Guerrieri's remembrance of Van Cliburn.

2. Great article for home studio teachers: Dave Caolo on being productive and organized from home.

3. Bryan Townsend on musicians and self-criticism.

4. Going to the Met next season? Some ticket prices are going down.

5. Yiyi Ku writes about the role of parents in music lessons.

6. Snowed in on a teaching day? Use Skype to teach lessons instead.

7. Make your own whiteboard for music teaching.

8. Want to enjoy music more when listening?. Work at it.

9. Lynn Harrell writes about a 50-year relationship with his cello, soon coming to an end.

10. Record keeping on Music Teacher's Helper - here are some ways to do it.

11. Tips for surviving as a musician in New York City from Mark Morgan.

12. Hanne Blank on being and unbeing a singer.

13. Jason Yang and ensemble playing selections from Game of Thrones Season 2:

Bach's Christmas Oratorio...Performed in a House

2013-02-26T21:42:00.000-05:00

I've written about house concerts on several different occasions. However, these Leipzigers have taken it to another level, performing a Christmas Oratorio with 70+ singers and instrumentalists in close quarters. My goodness, it must have been hot in there.

As excited as I am about the concept, Wendy insists that this kind of performance will never, ever happen in our house.

Artists are Actually Athletes

2013-02-26T21:18:00.002-05:00

We all might think that we are artists, but as far as our bodies are concerned, we are athletes. Realization of the demands of the instrument, practice process, and the music on our bodies is a first step towards developing a healthy attitude towards playing and living. Susan Eichhorn writes in Once More With Feeling about the athletic demands of singing, but what she says is applicable to every kind of musician:

Admit where you are. Start there.

There is no right or wrong, but there is a truth. How strong are you innately? How coordinated are you physically? How balanced are you physically? How aligned are you? How flexible are you? Do you have a quick muscle twitch, or are you sluggish?

All of these physical athletic observations are KEY to discovering what sorts of athletic and physical activities will be best suited for YOUR physicality, your natural development, and your psyche.

If you are tense person - physically, emotionally, psychologically - then you need to find an athletic activity that gives you permission to release not to add more tension!

If you are a sluggish person - then you need to discover more energy, more demand, more engagement.

Make sense?

...As we continue to develop as artists, as singers, we discover what the physical instrument needs and what the integration of the physicality needs with our emotional and spiritual element.

An Appreciation of the Hand

2013-02-26T08:59:00.000-05:00

Central to our lives as pianists is the health and fitness of our hands, as well as their connection to the rest of the body, both at the piano and away from it. Frances Wilson at The Cross-Eyed Pianist has written a wonderful appreciation of the hand:

As a pianist, one is constantly aware of one’s hands, checking them, massaging them, drumming the fingers, playing a silent keyboard on a table top or one’s knees when away from the piano. We are aware, too, of the arms, shoulders and back. An injury higher up the arm, in the shoulder, neck or back, can affect the health of the hand too (as I found to my cost, and considerable pain, before Christmas when I damaged my left shoulder playing Rachmaninov too energetically). If you’ve had an injury, you become hyper-sensitive to the slightest twinge or ache.

Because of the sensitivity of feeling in my hands, I can't stand wearing rings, which cause me to endlessly fidget with them. The toughest thing about winter in Ontario is dealing with the dry air, and trying to keep them hydrated enough to stave off cracking skin, but dry enough so to get a good grip on the keys. Always a challenge.

Do you have any interesting hand idiosyncrasies or stories? Leave them in the comments.

My Current Tech Setup for Teaching

2013-02-25T14:19:00.000-05:00

A few months ago, I wrote in Clavier Companion about the real reason you should be using technology in the studio. Here's what I do and why I do it.

At the heart of the way I structure a lesson (with the exception of my advanced piano and vocal coaching students) is creating a body of information that can be sent out to the student and their parents at the end of the lesson that describes items such as:

What went on at the lesson
What the expectations are for the next lesson
How the current lesson fits into a larger objective
Resources on the web if applicable
Attachments (photos, audio, video) that are emailed out with the lesson notes

I type my lesson notes on Evernote using a Galaxy Note 10.1 connected to a wireless bluetooth keyboard. I can't stand typing on tablet keyboards, which is why I use a bluetooth one. The beauty of Evernote is that I can create a notebook dedicated to lesson notes for my students. Each student has their own progress report note that is updated every week. The most current week's notes are at the top, followed by previous weeks' ones below. At the conclusion of the lesson, I'll email the note (w/attachments) to the student and/or their parents, so when they get home, they'll already have the contents of the lesson in their inbox as well as the expectations for their upcoming practice sessions.

There are very good login-based lesson note systems available through Music Teacher's Helper* and iScore that are very useful pedagogically. The problem I noticed with parents and students is that since they're so busy, very few of them ever have the time to login to the system to view their lesson notes.

It's much easier to simply type notes out and push them out to students and parents at the conclusion of the lesson via email.

The beauty of the cloud-based system used by Evernote is that I can view the progress reports not just from one device but synched across many of them. Lesson planning is much easier, as before each lesson I can simply view the last few weeks' lessons and plan for the current week. If you've not a fan of Evernote, other competing systems work just as well, including Springpad, Catch Notes, and Simplenote. Yes, they're all free.

Using a tablet is also great because I can fit typing out stuff into the larger workflow of the lesson with minimal distraction. After all, it's about the student's needs and goals above all else. The gear is simply there to fill a need with my teaching process.

*I'm still a huge fan of Music Teacher's Helper, and I use it for nearly every step of the studio management process except for sending lesson notes!

My New Instrument

2013-02-24T21:35:00.000-05:00

My studio finally has a grand piano! Just before Christmas, I purchased a 1928 Steinway M (5'7"), rebuilt by Rob O'Brien in Brampton and sold by Grand Piano House in King City. It's got an awfully big sound for an M, and its Steinway/Renner action brings to mind the classic Steinway feel, with a sound that can deliver both sweetness and power, requiring depth of tone in order to bring it forth.

For those of you enamoured of my rebuilt Yamaha U1, I have no intention of selling it. Having a second piano in the studio is awesome for teaching (my younger students begin their studies on it and continue on it up to Grade 2), and once the summer rolls around, I look forward to working on concertos with my advanced students.

Call for Student Collaborative Pianists: Music Theater Bavaria

2013-02-11T18:36:00.001-05:00

University of Mississippi faculty member Amanda Johnston sends along the following information for pianists who might be interested in studying abroad this summer (it looks like MTB will be looking for four pianists):

I am thrilled to be joining the vocal coaching faculty at Music Theater Bavaria (June 28-July 28, 2013). Now in its 14th season in Oberaudorf, Germany, Music Theater Bavaria combines a culturally enriching European summer program experience with a serious professional training and performance program for young artists in an Opera Studio and a Musical Theater Studio.In addition to offering invaluable training for singers, Music Theater Bavaria is seeking applications from student collaborative pianists. There are three substantial scholarships available, offering the opportunity to participate in classes and masterclasses in both the Opera and Musical Theater Studios, including German lyric diction, conversational German, song/aria interpretation, acting, movement, as well as career advice for German-speaking countries. Pianists will have the opportunity to observe and work with the professional coaching staff, play for voice lessons, as well as play for rehearsals and select performances (pending approval by the professional coaches).

This summer program is truly unique in that it offers intensive training in opera or musical theater, along with performance training, audition preparation, German language and lyric diction, and opportunities to perform scenes and solos in multiple performances. Qualified students may apply to study in one or both disciplines. The internationally renowned faculty includes Richard Owens (founder of AIMS and former General Director of the Orlando Opera), Jo Ann Kulesza (Head of Opera at the Peabody Conservatory), Mignon Dunn (renowned soprano), Barbara Honn (Professor Emerita from University of Cincinnati College-Conservatory), and many more. Please visit http://www.musictheaterbavaria.org for information on application and audition requirements. Please feel free to contact me for further information. If you are interested, please apply as soon as possible. Thanks in advance for spreading the word to any of your fellow collaborative pianists!

You can find more information here. In case you're interested or have any more questions, email Amanda at ajjohnst [at] olemiss dot edu.

Ending the World with Wagner

2012-12-21T09:26:00.000-05:00

What better music to usher in the end of the Mayan Long Count Calendar than the Immolation Scene from Wagner's Götterdämmerung. Here are Susan Tsagkaris and I at the Royal Conservatory a few days ago reading through Brünnhilde's last moments:

A huge thanks goes out to Lennox White for doing such amazing videography in such a short time. The video was filmed at my Wednesday teaching studio at the Royal Conservatory. While the audio is from a single take, Lennox's shots were taken from a variety of angles (I particularly like the outside shots looking into the studio).

Susan Tsagkaris Featured on Deutsche Welle Documentary

2012-12-11T22:20:00.001-05:00

This is a huge week for Susan Tsagkaris, one of the singers that I coach at the Royal Conservatory in Toronto. Susan has just been featured on Deutsche Welle program Arts.21with a mini-documentary about her experience at the Baldwin Wallace Wagner Intensive last summer. Here's the English-language version:

Cal State Northridge Now Offers a Master of Music in Degree in Collaborative Piano

2012-12-09T21:58:00.002-05:00

Starting in September 2013, California State University at Northridge will be launching a Master of Music Degree in Collaborative Piano Performance. Congratulations go to Pei-Shan Lee for developing the program, which is now open to applicants for the 2013-14 academic year.

If you're interested in applying, you'll need a Bachelor of Music degree in piano performance or its equivalent. Here is the audition rep, which is in line with what you'll find on CP audition lists at many schools of music:

A. Art Songs (choose one song for each language)
All works must be performed in the high keys unless otherwise stated.

German

Schubert: Die Forelle (low key in A major)

Brahms: Meine Liebe ist grün

Strauss: Morgan

French

Debussy: C’est l’extase (from Ariettes oubliées)

Duparc: Extase

English

Barber: Crucifixion (from Hermit Songs)

Copland: Heart, we will forget him

B. Instrumental Sonata (choose one of the following)

Beethoven: Sonata for Piano and Violin No. 5 in F major, op. 24, first movement

Beethoven: Sonata for Piano and Violin No. 7 in c minor, op. 30, no. 2, first movement

Brahms: Sonata for Piano and Clarinet No. 1 in f minor, op. 120, no. 1, first movement

Prokofiev: Sonata for Flute and Piano, op. 94, first movement

C. Orchestral Reductions (choose one of the following)

Mozart: Clarinet Concerto in A major, first movement

Mozart: Flute Concerto in G major, first movement

Mozart: Deh vieni non tardar (from Mozart’s Le Nozze di Figaro)

Verdi: De’ miei bollenti spiriti (from Verdi’s La Traviata)

D. Solo

Applicant's choice to be performed by memory (any piece or movement under 10 minutes)

I particularly like the fact that orchestral reductions are on the audition list. Although the four works to choose from are by no means the hardest reductions in the repertory, they show a lot about the handling of orchestral sonority in each style.

If you're interested in applying for the CalState Northridge program, contact Dr. Lee sooner rather than later with any questions you might have about the program. Here is her address: peishan.lee [at] csun.edu.

Here is Pei-Shan Lee playing the second movement of the Enescu Third Sonata for Violin and Piano with Korbinian Altenberger on violin:

The Classic Looney Tunes Piano Gag

2012-11-25T08:24:00.003-05:00

No matter how many times you've seen this one, it never loses its appeal...

Using a Tablet as a Whiteboard

2012-11-23T14:55:00.000-05:00

One of the most useful ways to use a tablet in the studio is as a portable whiteboard for explaining concepts and processes. The sketches below were drawn on the S-Note app on my new Samsung Galaxy Note 10.1 this morning in order to demonstrate the bass motion of cadences to an RCM Grade 10 student working on ear training. If you have an iPad, there are lots of apps that can provide this kind of functionality as long as you don't mind using a thicker capacitive pen.

Then again, using technology in the studio isn't all about bells and whistles. Take a look at my recent Clavier Companion article about the real reason you should be using technology in the studio.

Piano Tombstone

2012-11-20T09:00:00.000-05:00

What a fascinating way to be remembered. I only hope that Ms. Brazier is buried underneath rather than inside that piano carving.

Photo by NatalieMaynor on Flickr

Readers' Comments on Audition Best Practices

2012-11-20T08:49:00.002-05:00

It seems like pianists and singers alike have a lot to say about a recent post on audition pianists. Here are a few highlights.

Anonymous writes:

Unless one has perfect sight reading skills, AND an uncanny ability to read minds, it is important to know when to say "No." Especially for obscure arias, if you don't know it/don't have the time to prepare it, let the singer to find a coach who HAS played it and can relay the sensitivity and technical execution needed. There will inevitably be a time and place in the future - with ample amounts of prep time - to revisit and accompany that particular aria in an audition.

Furthermore, it is important for the singer to know when "NOT" to audition. If they are not musically ready, it is a nightmare for the pianist, and the best interests of the singer is at the hands of their own anxiety. Never leave the first (or first two or three) auditions as your "trial runs" of the season. Always go in readily prepared - coaches and teachers alike are out there to help singers reach that level. Your first impression might be THE ONLY impression!

CS noted the significant change in rep between music school and performing career:

There's a strange thing about collaborative piano in a university environment: when you are in school playing for singers, you play mostly repertoire that student singers are learning. For opera, that means a lot of Mozart and light lyric soprano arias. When you transition to the professional world, you are suddenly faced with MUCH different repertoire--the larger Verdi rep, Strauss, Wagner, and tons of obscure French pieces. Since it is unlikely that you ever encountered this repertoire in school, there are only two ways to learn it: 1). Personal study: listening to recordings, sitting down with scores, running surtitles, practicing. 2). Take every gig and opportunity that comes your way, pretend you know what you are doing, do your best, and learn through experience.

CS goes on to say:

It seems selfish to use auditions as a learning opportunity at the singers' expense, but I cannot think of a better way for a young pianist to gain experience. All those little things--like when to follow a singer into a new tempo, and when to keep a steady tempo while the singer does his/her thing, with the confidence that the two of you will end up beautifully together at the end of the phrase--are things you cannot possibly learn through solitary practice. Also, I'm not doing the singers any favors by turning down the gig, as there is no guarantee that whoever they end up getting will be any better than I am.

And as far as preparation goes, preparing to play vocal auditions is a little like preparing to visit a foreign country by buying a language book the week before your trip. If you don't already know SOMETHING, it is unlikely to be useful, and even if you do already know something, its usefulness is still limited. Even, for instance, if you ask for the rep sheets ahead of time. Say you are playing 20 auditions, and each singer has 5 potential arias ready to go. Of those arias, there are 20 that you have never even heard of. There are another 20 that you are familiar with, but need to review. There are any number of singers who don't send their rep lists at all, or who send it at the last minute when you don't have time to get to it. There are conductors who ask for things that aren't on the "official" rep list, but that the singer knows and is prepared to sing. Basically, there is no way to learn all this music unless you have a Time-Turner like Hermione in the 3rd Harry Potter book.

So you go in there and do your best. When I don't know an aria, I try to be honest about it, and ask the singer for the tempo. I look through for any tempo changes I should anticipate. Then I do my best to play with as much rhythmic clarity as possible and to provide at least a harmonic framework (even if I'm not playing all the notes). It is always easier if the singer has marked cuts and tempo changes clearly. I especially like it when they mark all those little rubatos that are so common in the Verdi and bel canto rep. If you haven't played or listened to a particular aria in awhile, you might forget they are coming up and it's nice to have the reminder.

To respond to Susan Eichhorn's question "who is that pianist in the room?" the answer is: someone like me. You know all those "marvelous, exceptional and brilliant pianists out there" the ones that you wish were playing your auditions? Yeah, well those highly trained and experienced pianists would not exist today if some conductor or artistic administrator had not taken a chance and asked THEM to play auditions, back when THEY were young and just learning the repertoire. No small number of those "marvelous, exceptional and brilliant" pianists are now sitting on the other side of the audition table as conductors, giving the same opportunities and encouragement and mentoring to young pianists that they received when they were at that early stage in their careers.

Finally, an anonymous singer talks about his/her best practices:

I always bring my scores folded, marked and with all the things that I think important while studying it clearly written, and then I also ask my coach if he/she understands all the marks or would he/she put it differently… so I think my work is, generally, well done.

When the audition times arrives we are nervous and lots of things can go wrong everything depends on that very minute that you get to show how good you are and that you are their best choice…. Ehem! No pressure at all… but we also know that a great deal depends on how the pianists plays and how he/she follows what you are doing and I think that’s what makes the difference.

In my experience the best pianists which have helped me in an audition are the ones that follows the singer. I have played, lots of times, music that the pianist has never played or seen before but they where there trying their best to help me and even at the cost of an nice performance for them. Sorry but I really appreciate that because those 10 minutes are mine!
The worst auditions pianists that I ever have encountered where playing alone, the audition was theirs and they never looked or listened at what I was doing, tempo? Their own, cadenza (even noted)? No thanks!..

So I don’t care if the pianist who plays in my audition is the best sight reader over the entire world, if he plays alone It doesn’t work for us! The one that leaves some notes unplayed but try to help you and is there listening and changing as necessary is the good one! Sorry guys but we are musicians so make music!

A huge thank you goes to all the pianists who singers who took so much time to write such detailed insight into the art of auditioning from both sides of the piano. Your comments are valued by the entire Collaborative Piano Blog community.