My second semester as a college professor approaches, and with it comes hearing undergraduate auditions for the coming year. I don’t remember much about my undergraduate auditions - I took them way back in 1968 - but I remember it being a stressful time. I was lucky enough then to have solid guidance to make the whole process a little easier, but now the game is totally different. Kids are out here “flossing,” and pulling up from halfcourt - it’s enough to make anyone’s head spin.

I decided to turn to some of my most trusted mentors for their take: they were kind enough to share their wisdom and experience with me and in turn, I’ve put it all into a neat little package for anyone who might need a few extra words of guidance during these important months that are coming up.

Michael Burritt, Jonathan Ovalle, and John Parks, IV are all huge, influential figures in the percussion world. They teach at world-renowned programs that churn out mature musicians and have been doing it for years. They’ve answered some questions I’ve heard my high school students ask in the past, and I’ve compiled the answers for you below - Hopefully you have as much fun reading this as I had putting it together!

From left to right: Michael Burritt, Jonathan Ovalle, and John Parks, IV.

Applying to Music School for Dummies! (Percussion edition)

What’s the difference between a state school and a conservatory for a music major?

Michael Burritt (MJB): Generally, conservatories focus more on performance. That’s not to say that some conservatories (like Eastman) don’t have a rigorous academic standard that can open up a variety of options for students outside of performing!

Jonathan Ovalle (JO): As far as music curriculum, none. In a university environment there are options for other things like college athletics, greek life, many additional academic options, should one choose to pursue them, etc.

John Parks, IV (JPIV): Virtually none of the free-standing, non-university affiliate conservatories like Juilliard, CIM, Colburn, etc. have music education, therapy, history or theory tracks for students—it’s all performance, and most do not have accredited DM or DMA degrees. University-based/housed conservatories like Eastman, Peabody, etc. and state universities housing major music programs (like Michigan, Texas, FSU, etc.) have broader and more inclusive offerings and depend upon the university for funding and resources. They typically have a much stronger academic component when it comes to curriculum.

What are some things I should ask the professor?

MJB: Who would I study with? This is an important question especially when there is more than one teacher in the percussion department. Would I study with a professor in my applied lessons or a graduate student? Is there a system in place where one of the professors becomes my primary teacher or is it a total team teaching curriculum? What is the focus of the curriculum? Is it western classical or an emphasis on world percussion? How does it work with the adjunct faculty and my opportunity to work with them?

Also, what ensembles will I perform in and how often? What is the chamber music curriculum like? What do the students do upon graduation in terms of graduate school or career placement?

JO: If there is a website, check that out first. It may be a place to find some information about the program.

Be sure to ask the professor : "Would it be possible to schedule a lesson?" Important for both parties in the potential audition process.

Ask about program size, what the percussion ensemble is playing/has played recently. How large ensemble auditions are conducted? Do first-year students have to play in lower ensembles? Ask about what they feel makes the program strong.

JPIV: “Where are your graduates?” That’s the most important one to me. If you want to compete in today’s hyper-insane world of auditions and college teaching positions, you better pick teachers/schools/programs who have a demonstrated track record of putting people in contention for those positions. It’s like investing in the stock market. Sure, you can go lots of decent places and get lots of money and to study with someone good, but if everyone from that program is selling insurance after graduating…

The rest of the questions can be answered with some effort—for example, all you need to know about our program is on our website (www.fsupercussion.com). I’m always a little dismayed when people show up or email with questions like “What do you do there?” or “Do you have scholarships?” Do some research so you don’t ask uninformed questions—makes you look unprepared.

What are some things I should ask current students?

MJB: What does the average week look like? How do you like your lessons and ensemble experience? What is the environment of the studio? ‘Positive and supportive’ is the answer I would be looking for. How is the practice room situation and does it allow you to accomplish your goals on a weekly basis? Is the professor(s) supportive, challenging, inspiring, and a mentor? What are the graduates of the program doing? Graduate school placement? Career placement (especially for graduate students)?

JO: What do they like about going to school there? Why did they choose that particular institution? What would the change if they could? Also, check out alumni and what they are doing out in the field. Is there a track record of success there?

JPIV: What’s the general vibe here? What are large ensembles like? May I watch some lessons and rehearsals? May I hang out with all of you and get to know who you are, where you’re from and where you want to go/what you want to do? What’s the teacher really like day in and day out? Is s/he gone a lot? Does the teacher care about you? Give me some examples.

How do I know if a program is right for me?

MJB: That’s a difficult question to answer. I would ask myself: “How did I feel in that environment? Did I like the feel of the campus and/or conservatory? Did I like the “vibe” of the students, studio and school as a whole? Did it seem like a professional environment? Did I relate to the professor?”

I still believe that one of the most important aspects of this decision comes down to whether or not the principal teacher(s) inspires you. I see my relationship with my students as a mentorship/apprenticeship paradigm. It is one of the last bastions of this we see in education and it is a very special one. To me, the teacher is probably the most important part of your decision about a school.

JO: You can only gather information about the program, then trust your gut. Visiting the program in person, meeting professor/students, and spending some time on campus to get a vibe is an important part of the evaluation puzzle. Some people choose a school because of a specific teacher, some because of a specific institution, some because of a location, etc. Make your wish list and your "dealbreakers" and see which institution feels like the best fit. There may not be one that fits all parameters top to bottom, so you have to decide what are the most important things for you.

JPIV: This sounds stupid, but it’s true—you’ll just know. Visit enough of them, take a lesson/lessons, watch rehearsals and hang with the students. You’ll know when it’s the right one for you. I did for all three of my schools. Of course you also need to think about money, even state schools are expensive these days for in-state students.

BUT REMEMBER. You get what you pay for. You’ll pay for it on the back side if you don’t go somewhere fabulous, so don’t be afraid of loans. I’m 47 and will pay off my Eastman student loans by the time I’m 50. That freaks some people out, but I can give you a thousand examples of why it was worth it, first and foremost I probably wouldn’t be at FSU if it weren’t for ESM, Northwestern, etc.

What should I play for my audition? Should all my pieces be of an equal level of difficulty?

MJB: Be sure to look at the requirements. They are similar for many programs but there can be subtle differences. Many schools require a 2 or 4 mallet Bach movement. I am always amazed when students ask if they can supplement that with another solo or etude. If someone is asking for Bach then you need to play Bach!

Show what you believe to be your strengths through the repertoire you choose. There are requirements but usually there is room for you to pick music that feels comfortable and can let you represent yourself in the best light musically. DO NOT choose something because you believe it will be technically impressive or because it is difficult or advanced. Most pedagogues will see through this and often it does not reflect well on your application. It is easy to see when repertoire is too advanced for a student both technically and even more typically, musically. Playing pieces that are appropriate for your level of accomplishment and playing them well will always be the best choice.

JO: Play things you can play exceptionally well and showcase your musicianship at the highest level. Things that are polished and demonstrate your personality as well as musical intentions. Less credit is given to a difficult piece if it is not played exceptionally well. Choose repertoire that will showcase your sound, first and foremost, as well as your ability to articulate, move around the instrument (if appropriate) and combine to form a complete audition picture. There are some pieces that are good for recitals, some that are good for auditions, and a few that fall into both categories. Check each schools' audition requirements and ask the professor in question if you are not sure.

JPIV: Obviously check out the rep lists for the different programs, but play music that you can REALLY play. Like lights-out playing. I’m more into hearing what someone has to say musically rather than “what” they are playing. Students fall into this trap all the time—they go to all-state and other people are talking about their rep, you know? “I’m playing such-and-such,” and then you start thinking you need to play that rep as well—even though it’s way over your head (and possibly over the person talking about it too).

The most important thing is to have a really great private teacher to help you with everything. If you don’t have one, find one.

How should I ask about financial help?

MJB: Each school is different but I would always start with the financial aid office. The professors are often not involved in those decisions. They may rank the auditioning students but that doesn’t always mean that merit is the strongest component to a financial aid offer. Need often comes into the formula as well.

JO: Usually there is a admissions office person who can guide you in this area. Be up front with the professor if asked, or if financial status will impact your ability to attend a given institution. Every school handles this differently so it is best to ask the professor first how the process works at a given institution.

JPIV: Look online and form questions after your research. Things like “How many incoming percussion students typically receive financial aid based upon their audition?” That’s fair game. But “Do you have scholarships?” Especially if there’s info out there—best to research first.

What are you looking for in a student?

MJB: Talented people that are humble and eager to learn. I look for those who show good a work ethic as well as an appropriate level of both emotional and musical maturity in my interactions with them. From a specifically musical standpoint, I would say my 3 biggest areas of assessment are 1) good sounds, 2) good time, and 3) plays with confidence and authority. That doesn’t mean loud! It refers to someone who performs with a clear sense of what they are looking to accomplish with each piece in a confident way.

All of us are looking for people we want to work with on weekly basis. Like I said earlier, this is an apprenticeship. I am looking for someone who I’ll connect with the best and who I believe will be a positive addition to my studio musically and as a citizen of the school.

JO: Quality of sound/technique. Musicianship. Overall vibe. Personality. Intellect. Strong academically (grades/gpa/test scores, etc.) Potential to be successful in the program.

JPIV: I’m looking for amazing musicians who also happen to be fabulous people—passionate, dedicated, driven, curious, and unafraid to meet everything head-on--yet kind, understanding, friendly and ready to learn. Our program is very intense and the students have to spend literally years of their lives in close quarters. One bad attitude spreads like a virus, so I work really hard to screen people who might be problems in that regard.

Final words of advice for those embarking on this stage of their lives?

MJB: Be yourself! Don’t try to be perfect because no one will. Stay focused on what you want to accomplish in your audition within your repertoire and etudes. Show respect to all those you come in contact with at the schools and keep an open mind through the process. You may end up at the school you least expected to as a result of your experience and ultiumate placement. Keep in mind that there are many good programs where you can reach your goals. Its ultimately up to you in the end what you will achieve and the attitude with which you do it. I always liked what Steve Jobs said in a graduation speech once, “Have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.”

JO: Make sure you have a private teacher who is helping you choose repertoire/prepare for pre-screens/auditions. Be steadfast in your work and desire to achieve what you want. Listen to a lot of music, not just percussion music. Get your ears on lots of different styles/sounds/ensembles. Feed your ears as much as possible. Also, learn and know about good, quality repertoire, not just the first video that comes up on YouTube. :)

JPIV: It’s so easy to get down about how hard the music world is—literally everyone tells you that it’s too hard, too competitive, blah, blah. But there are positions and someone has to win them. It could be you! So get out there and go after what you want with no apologies and disclaimers, because making music and teaching people how to make music—for a living—is not only the most fun job on the planet, it’s one of the most satisfying. And if your track or focus changes, you’ll be a better EVERYTHING for being a musician.

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Michael Burritt is Professor of Percussion at the Eastman School of Music in Rochester, NY. Find out more at www.michaelburritt.com.

Jonathan Ovalle is Assistant Professor of Percussion at the University of Michigan in Ann Arbor, MI. Find out more at www.jonathanovalle.com.

John Parks, IV is Professor of Percussion at The Florida State University in Tallahassee, FL. Find out more at www.johnparkspercussion.com.