The Audition: experience, advice, stories, etc...

[willyz]

This is a topic that I'm not sure gets discussed enough. Perhaps because not everyone hanging HOD is actively seeking auditions, or maybe because auditioning is a lost concept in itself...

When I was a kid and went through high school, I was always in a tiny pond- Tecumseh, Michigan, about 45 minutes away from Ann Arbor. Any of the original bands I played in never really auditioned me- perhaps because it was the primitive form of such things in such a tiny string of towns. They knew how I played and what I liked to play, and when you're that young and all your friends are into the exact same thing it's not hard to relate. My mother was a costumer in a theater nearby and eventually my entire family was involved in various combination of acting, teching, designing or playing in the orchestra pits. From the acting side of things, there was always that traditional and slightly professional routine of the "audition". A table would be set up maybe five rows from the stage- you go fill out your paperwork, attach your theater resume and your head shot, get called up, sing your sixteen bars, do the dance portion and then maybe you get called back for the next round, sing or read something specific and serve whatever the warranted criteria was for that show.

The first professional gig I got was playing a production of Little Shop of Horrors for the high school one town over. I was 15. A family friend and musical director in the area came by and hired me for a show he was MD'ing for, Joseph and the Amazing Technicolor Dreamcoat. For the next three years until I left town I stopped all the other stuff and was getting paid to do these two/three week productions and from then on I got the gigs only from word of mouth. Though I was still in high school and had a part time job, playing the pits was my first professional experience that paid and let to other things in a natural sort of way. That first show WAS my audition.

My first cattle call was when I first started at LAMA. The Police reunion tour was approaching and there was some contest to be the drummer in a regional Police cover band. Miles Copeland was one of the guys at the table and a bunch of my friends from LAMA were also auditioning so naturally... I choked. A while later I started "auditioning" for local bands and would eventually get fired because I wasn't 21 yet. Once I figured that out I kept my focus to school.

Since coming to Austin I've had several more auditions, not cattle call, not professional per say, but... auditions for a band or to play for an artist. Some have gone great and worked out really well, and others a total disaster. One thing that I will say though, is despite the rarity, the best gigs both in terms of money and things musically have been the gigs I've gotten simply through word of mouth and networking. Those gigs I never really had to "audition" for- the expectations were set before I showed up for the rehearsal and it worked. I have a hard time now auditioning for singer songwriters in town now because it's become the same general sort of thing- and maybe this is typical for small cities/circuits but here are some of the things I've experienced frequently, learned, or noticed: (again, some of this could only be due the town/scene I'm currently in- I hope none of this sounds bitter):

-Listen to the music sent to you as much as possible. Chart it out. Play like the record. Know the forms and do your best to understand the song(s). Figure that this would be a great no-brainier and a perfect move to...
-Never expect the line up or band to be like the record. Nine times of of ten that I go to audition for a local singer/songwriter type they're either trying to replace someone in a band or put together a new band- and you will be playing with only the guitarist/singer. This is annoying because you've got no bass there, and the singer/guitarist will play the songs the exact same way (electric, usually), without a bass player and leaving you really only to maintain the time and the feel. At this point it's hard to focus on anything other than the feel and the groove itself. This frustrates me to much degree- if I was to be auditioning, why wasn't I sent the acoustic version of the tunes?
-Never assume that you're auditioning with someone "better" than you. I think many people have said that playing with players that are "above" you makes you a better player- I agree with this. Some guys have no formal study and have no interest in music other than their songs- there are (seemingly) few that understand that switching between sticks and brushes is a musical and dynamic choice based on the song and what it requires, not to make the drummer play "quieter".
-You'll always be asked, "what were you able to listen to?" or "what do you want to start with?". It's rare that that the guy running the show will say definitely "Let's start with this" and then count you in.
-Your formal back round will hurt you and be a benefit to you. People are able to tell when one is well schooled or practiced- sometimes that turns guys off.
-Be polite, be thankful, be honest in regards to your ambitions and goals (with tact), and be glad you were even asked to show up and play.
-Never forget that there was always someone before you and will be someone after you for whatever reason. Sometimes you don't get the gig for just your playing. Sometimes you get fired for reasons that have nothing to do with your playing. Keep your chin up and your head level.

Anyway, I think this is a topic that doesn't get spoken about enough round these parts. Perhaps for various social reasons or because not everyone does audition for stuff, or maybe the practice of the "audition" is dying with the amount of record sales/current state of the arts in popular culture. I'd love to what hear everybody else has to say on the matter, their experience, horror stories, or advice. This could be something really thought provoking and educational for us all...

Cheers.

[Riddim]

Overprepare.

Be early, and easy to deal with.

Live in the world you're in.

[smoggrocks]

i just failed an audition this week. i knew i would, so it's all good. i did it because i needed to light a fire under my ass and get out there again. i am on an all-time confidence low on many fronts, including my playing, so i wanted to challenge myself and do something to help me focus on things that are in my control rather than not.

it was a bit of an ego bruise, but also a good experience and thickened my skin for the next one.


here's stuff i've learned:


be prepared, but also be ready to shift on the fly.

lend some of your own thing to the music. don't go nuts, but show what is you. the last band i auditioned for before this one admired that i played the tunes note-for-note from the cd, but the singer later commented that he would've liked more of me coming through. ultimately, they wanted a dude, so i didn't get that one, but whatever.

auditions are a two-way street: you are trying them out, too. one reason i'm kind of relieved i didn't get this last one was the band name was so frickin' stupid i couldn't imagine myself inviting friends to the gig. as a rule, i dislike bands named after the lead singer. but if you're going to name it that, at least have a cool name.

be friendly but don't cozy up to the band too much. a little indifference/detachment makes them think you are confident enough.

conversely, show enough interest that they don't perceive you as a mercenary.

like the band you are auditioning for. nothing sucks more than playing music you hate. i know we have to do it sometimes, but if bad music colors the whole experience, you will eventually want out.

[Josiah]

You must have great music scenes! I lost a audition/gig recently because I was quote "over qualified" and they couldn't pay me. "we do it for fun, not for money blah blah blah..."

[willyz]

You must have great music scenes! I lost a audition/gig recently because I was quote "over qualified" and they couldn't pay me. "we do it for fun, not for money blah blah blah..."

I don't know mate- for a lot of the stuff I've seen in Austin if you start to bring up rates and things they drop you. I consider myself to be "cheap" in terms of rates and I try to be professional about it, but I'm not going to take a gig if half the pay only covers my gas to and from the gig, you know? If it's the right gig and it's interesting than that's different, but if it's not a gig you really want to do and the pay covers your gas and you hauling all your gear and learning the material, a few extra dollars isn't really worth it (factor the cost of sticks, heads, etc into this too).

...maybe I have the wrong attitude about it (and this dives a bit into the other big thread going on- "Meet the new boss" and yadda yadda), but while the "money" gigs are still a bit of fun because you get to be playing, I still want to be paid right to make it worth my time (and respected)- and that's not trying to be a cocky "I'm the best player in town" sort of thing because I'm not (Frosty, JJ Johnson, and Brannen Temple take that cake)...dig?

[Josiah]

Oh for sure. This is a local bar/club cover band. They are older dudes who have the money for the gear, can play well enough to get the gigs, but don't care about being paid.

It's really the epitome of how/why actual working musicians are getting screwed. You got tons of these "bands" undercutting people who are actually trying to a make a living.

There is no challenge to the music at all. No learning experience going to be had. There's no reading charts. It's bar crap classic rock bullshit. They need a drummer, but want someone who's "In it for the music"... yet the music is bullshit. Just some old guys reliving their drug days. But they can undercut other bands and get the gigs because they have day jobs and don't give a shit. But yet want a quality drummer to be on call...

I would love to be challenged. I haven't had to read down an actual chart since music school....

[willyz]

It's really the epitome of how/why actual working musicians are getting screwed. You got tons of these "bands" undercutting people who are actually trying to a make a living.

I would love to be challenged. I haven't had to read down an actual chart since music school....

Yes.

In regards to the first bit, I'd argue that due to the saturation of musicians in town that "just want to play", club/bar owners/managers will give anybody a gig because everyone wants to play- even for free. And it doesn't matter if they're good or bad because 9 times out of 10, the people going to the club/bar have no clue about what's good or bad- and that goes beyond just preference in music and style, but if the band plays well or if the singer can actually sing. The culture around these parts is that is doesn't matter if you can play music well or not, but rather hey, you're playing music and it's great! I think the same thing has happened in a lot of grade schools- the "all that matters is if you try" sort of attitude. Stop thinking that some bloke is special because he's playing his guitar and singing during happy hour.

Secondly- you're telling me. I've got a bunch of charts and lead sheets that I'd love to put to use in a band as a band "leader" but I'm the only one that can read them and I'm the drummer! I'm amazed at how many musicians can't read music, or have no knowledge of theory what so ever.

[Josiah]

Secondly- you're telling me. I've got a bunch of charts and lead sheets that I'd love to put to use in a band as a band "leader" but I'm the only one that can read them and I'm the drummer! I'm amazed at how many musicians can't read music, or have no knowledge of theory what so ever.

+1


Now granted I didn't move to Colorado for the music scene. And up in Denver it's pretty huge. I got my ass handed to me at plenty of auditions in LA for sure.

But the major "music scenes" are few and far between in a really really big country. I just don't understand why we can't have quality music and get paid even a reasonable amount for the effort.