justin's tips

• Music should be double-sided and put in a 3-ring binder, or in a well-worn book that stays open easily, or printed on card stock and taped together. Never bring in loose sheets.
• If using sheet protectors, make sure they are non-glare.
• When making cuts, be careful not to remove time and key signature or any other important information about the feel of the piece (e.g. swing, straight).

• Completely block out the music you want cut. Use a blank piece of paper to block out the unwanted section. Don't just cross it out with a pencil.
• Decide ahead of time whether you will have a short intro or a bell tone. Don't just write "Start here" with no forethought of how you and the pianist are going to get started.
• Always test drive your piece before taking it to an audition. Just because you found the sheet music online does not mean that the key is appropriate for your voice or that it will sound like the commercial recording you heard on YouTube.
• Pay attention to the time limits set by the theater. If they say 45 seconds, don't bring in a song that takes 60 seconds, especially if your "money note" is at the end of the song.

• Vocal sides (from scripts) are not acceptable. They are found in rented scripts and have only the melody and lyrics. Lead sheets have chords and can be used if you know that the pianist can play from them (not all pianists can). It's much better to bring in a piano vocal arrangement. Make sure the melody is always included in the arrangement. Otherwise, the pianist won't know if you've accidentally skipped a measure.
• E-readers are acceptable. Make sure they have enough charge to last thru your song (yes, I've had iPads darken on me halfway thru).
• Avoid singing from shows that are popular at the time. It means you will be singing the same song as 19 other people. Find something unique!
• It's ok to sing from the show but it is risky. You have to absolutely nail it. It's better to choose a song in the same style (or even the same composer). Once you get a callback, you'll have the opportunity to sing from the show.
• Many arrangements found online are not up to industry standards and are challenging to read.  One of the best sources is www.musicnotes.com

• Enter the room with confidence and immediately give your music notebook to the pianist. Remember that the artistic team sees many people in a day and they don't have time to chat. Know where your music is in your notebook so that the pianist doesn't have to look for it. Also, it does the pianist no good for you to hold the notebook while describing how you want it to sound.
• Treat the accompanist with respect. He/she may be the Music Director and may have a voice on whether or not you get a callback.
• Stay out of the personal space of the pianist.
• Don't ask for a starting note or to hear your intro. Music directors become a little wary of singers who can't find their starting pitch from the intro. This should be practiced at home until you have it down. No excuses.
• Don't admit that you've never heard the song with piano (and never come in that unprepared).
• Don't ask the pianist if they know the song. It's insulting. The pianist was hired for their sight-reading ability. If your music is clear and marked correctly, they will play it just fine.

• The primary goal of an audition is not to get the role; it is to get a callback. Then the playing field is leveled once more, and you will have a chance to demonstrate that you are the best person for the role.
• Always have a notebook of audition songs with contrasting styles and always know everything in your notebook.
• If the pianist's tempo is way off, it's okay to stop and politely fix it. It's far preferable, though, to just sing the tempo you want and make the pianist follow you.
• Know what the song is about. Nothing is more boring (or embarrassing) than a singer who doesn't act the song. An actor who sings will almost always get the gig over a singer who acts. Singers take acting and dance classes. Dancers take singing lessons. Triple threats (sing, act, dance) get hired more than those who specialize in only one or two disciplines. 
• Personal note: As a music director, I am often in a position to choose the dancers in an ensemble. The choreographer will identify his best dancers from the dance call and ask me to tell him which ones can sing well.

•  After your audition is done, thank the team and leave. If they want to hear something else, they will stop you.
• Do not shake hands with the pianist. While showing respect and being grateful are natural responses, please understand that we are playing for dozens (sometimes hundreds of people) in one evening and we prefer not to share your germs. Besides, shaking a sweaty hand is just gross!

 When I was about 3 or 4 years old, my dad sat me down at our family upright piano and taught me the

few chords that he knew. That sparked an interest in me because from the very beginning, I was able to

view music in terms of chords and harmony. I played by ear until age 9, when my parents decided it

was time for formal lessons. Luckily, the teacher they chose for me was not only a classical music

player, but was a silent film accompanist and knew how to improvise. She insisted that I learn how to

read music (and often I would ask her to play it for me, and she refused: something that modern

teachers should also refuse to do).

Finally, by my teenage years my classical playing ability, sight reading ability, and improv skills were

all equally developed. It has served me well in my profession - 45 years of making a living doing what

I love - playing music to entertain people and sharing what I’ve learned with others.

This is why I believe that every professional piano instructor should know how to play classical music,

and be able to play by ear and then pass these skills on to your students.

First, piano teachers in our country are not required to be licensed in any way. This means you may not know their qualifications unless you do some research and/or ask appropriate questions. Beware of imposters! A) Ask them for a resume. B) Inquire about where they got their training. C) Ask for a list of references. In other words, treat hiring a piano teacher just as you would when hiring anyone. Most anyone with basic skills can teach beginners, but you will soon discover that they are not qualified to teach at professional levels because they, themselves, would not be able to make a living playing music. 

Second, in your quest to find a piano teacher, you might search online for methods to purchase. Perhaps that's why you are reading this right now. You will likely see ads for some new method that promises quick results with little work. These are like get rich quick schemes. They don't work. Learning piano takes proper instruction and years of practice and dedication. But I promise you it can be done. I am living proof. I will share with you the exact way I approach the instrument and what skills and knowledge you must have to be successful.

There are no shortcuts to putting in the time in front of the instrument. But here's the good news: I will share the details of the method I have used to be a successful professional musician with over 45 years of making a living exclusively through music.  Ready to get started? Click HERE to learn more. 

•  Do you (or your child) want to study only classical music? While studying classical is a necessary step in becoming a well-rounded musician, it should not be the only skill you study or develop. Many classical pianists play beautifully, as long as they are given sheet music and time to practice. But they cannot get a gig with a band or play jazz or any other style besides classical music. I know pianists who can play any style of music with just a lead sheet. But they don't do well when asked to accompany a classical vocalist or instrumentalist. It's important to be proficient at both, and it's vitally important to find a teacher who can also do both.

• Is your teacher a working musician? Many are not. We can compare the education experience at a 4-year university versus a 2-year junior college. University faculty typically have doctorate degrees in music and academically speaking, are experts in their field. But many have never played a gig. On the opposite side of the spectrum are adjunct faculty found at junior colleges. These are musically working professionals who teach on the side. They are often better qualified to teach real world skills. The same litmus test should be used to find a teacher.

• What ages does the teacher specialize in? Does he/she teach Certificate of Merit and give out stickers and stars? That's fine for young students who need lots of rewards and motivation. But that method will not prepare the young student for a career in music.

• What style do you want to learn? If you are an older student, do you want to learn jazz? Classical music? Rock 'n Roll? Find the teacher who actually plays these styles for a living. Now granted, performance skills do not equal teaching skills. But it's a great starting place.

• Does your teacher have his/her own studio? Independent teachers are typically better than those found in music stores. This is usually due to the amount of pay the teacher is receiving. No good teacher will work for $30/hr. at a store when they could get $75/hr. teaching privately.