How to Serve Your Music Community: Clinics

 One of my favorite things I do to serve the music community and industry is to be a guest clinician. Since I became the Director of Orchestral Studies at Sam Houston State University, I have been expanding my network in and around the Houston and Dallas area. Every semester, I am invited to work with several school's ensembles. 

So, what is a clinic? This is where an ensemble will invite an outside conductor/educator to come work with them to gain outside perspective. 

Why do you want to bring in a guest clinician? Typically the ensembles spend weeks if not months on the music in preparation for a contest or a concert. When you are intimately involved in music making for such a long time, it's hard to see a big picture. You start to focus on each leaf instead of the forest. It's healthy for the ensemble to work with someone new, so the director can sit back and marvel at the work they have put in without worrying about "what do I need to fix next?" Oftentimes, the clinician will reemphasize what the director has been telling the ensemble for weeks. I realize it's frustrating to the directors that the students may not acknowledge the comment until it comes from an outside source. Also, every conductor prioritizes different elements of music. I may not be too excited about fixing bowings or intonation (I will, if they are the biggest problems), but I tend to focus on phrasing, breathing, blending, color, and playing together as an ensemble. 

This week, I am in Arizona working with the West Valley Symphony as a Music Director candidate. As part of the audition process, I had an opportunity to work with Mountain Ridge HS Concert Band and Wind Ensemble as a guest clinician.

 I always love observing the culture, atmosphere, ritual, and tradition the directors build for their ensembles. I also love sharing my love of music with the students and offering support to the directors and the students. It's always so encouraging to watch young musicians work hard daily for a greater cause. Another reason why I love doing clinics is because I am well aware that without  these programs and dedicated directors, my profession will totally dry up! It is my way of paying back and forward to the music community.

How Staff Conducting Position Auditions work

 In my last two posts, I discussed how Music Director auditions work. Today, I'd like to share my experience auditioning for staff conducting positions. These could be Assistant, Associate, or Resident Conductor, and every orchestra has different titles, needs, and job descriptions.

I was invited to a few staff conductor auditions, mostly in the 2000's, so my experience may be outdated. However, I did host an Assistant Conductor audition with the Chattanooga Symphony in 2020. I followed a similar format as I experienced as a young conductor.

The application process is similar to the Music Director's: Letter of Interest, short resume (2 pages max), sample conducting videos. Orchestras may request sample education or family concert programs. Make sure you are submitting the materials well in advance. The committee might start reviewing the materials as soon as they receive them. You want their mind to be fresh and less numb when they review your materials. This also gives a great impression that you are capable of meeting deadlines in advance and shows you're eager to win the position.

After the vetting process, the list will narrow down to about a dozen for zoom interview, then 4-5 finalists for in-person interview/audition. The in-person audition process will be maximum 2 days. I had to pay my way there a few times, but most of the time, they will fly you in and house you in a hotel or a board member's house. It varies on their budget, and how desperately you want the job!

The audition process is much shorter than the Music Director's. You might be on the podium for 20-30 minutes. The audition process includes:

1. Conducting well-known conductor "excerpts" such as Mozart Magic Flute Overture, Beethoven 5th first movement, Copland Appalachian Spring, or Stravinsky Infernal Dance from the Firebird. These excerpts demonstrate how clear your "stick technique" is. Accompanying a concerto movement performed by a symphony member could be a part of the repertoire selection as well. 

2. Rehearsal: You will be asked to rehearse for a few minutes. Be concise, respectful, and efficient. 

3. Speaking may be a part of the interview process. For example: "provide a one minute introduction to Infernal Dance, geared towards a group of 3rd graders." This exercise demonstrates that 1. you can speak English and 2. you can relate to young audience with engaging and clear communication skills.

4. Formal interview with the committee: Committee often consists of the Music Director, Education Manager/Director, musician, and any other staff members (Youth Orchestra board, if the position comes with YO conducting) that will work closely with the Assistant Conductor. 

I sent in well over 50 applications (I lost count) for a staff conducting position, and I was invited to 8 in-person auditions. Out of those 8, I only won ONE staff conducting position. I share this to say, yes, it is a very competitive field, but keep going if this is something you truly believe in. The right position will find you when the time is right! Remember, if you don't send in your application, your chance of winning is ZERO percent.

I wish you nothing but the best in your endeavor in this wonderfully challenging yet rewarding career.