e in one’s daily practice. Not only can simple metronomes be purchased inexpensively at most music stores, but also cheap or free metronome programs can be found to work with computers, smartphones, or tablets. I recommend using the metronome not only to foster correct rhythm and timing when practicing scales and etudes at the prescribed tempos, but also to enable systematic practice at both slower and faster tempos. The process I use is as follows:
First, practice materials at 50% of the indicated tempo. This is for the purpose of working out fingerings, articulations, and tone quality without the pressures created by playing faster. For etudes that are already slow, practicing at half tempo will foster better phrasing. Try to phrase in the same way and breathe in the same places as you would when playing at tempo. You will then have a much easier time making your phrases when you resume playing faster.
Second, practice at 75% of the indicated tempo. This provides a convenient “halfway point” between the slower tempo you practiced before and the tempo for which you are striving.
Third, practice at the indicated tempo. Having followed the two steps indicated above, you will find that playing at tempo will be much easier for you than if you had begun by practicing this quickly. Continue using the metronome to ensure that you are counting and keeping time accurately.
Fourth, practice at 125% of the indicated tempo. This is especially helpful for the scales and faster etudes. This tempo will feel extremely fast, and even frantic, but still attempt it, even if you are never able to make your playing as clean as you would like at this tempo.
Finally, return to the indicated tempo. Having worked out notes, fingerings, tone, tuning, and phrasing at slower tempos, and then at least tried to master the necessary technique at faster tempos, playing at tempo will feel balanced, even, and relatively relaxed. Alternate playing with and without the metronome for this step.
Not all of these steps need to be completed each day, particularly as you become more proficient at playing your scales and etudes, but these are necessary when first beginning work on your audition materials, and later on are still useful for occasional “refreshers.”
9. Mark your breaths. One helpful practice that is neglected by many students is that of planning and marking breaths. While you will be playing your scales from memory, go ahead and practice breathing at the same place(s) every time you play a given scale.
In the prepared pieces, make a clear mark at the places where you know you will breathe, and then some smaller markings in parentheses in places where you can breathe “if you have to.” By planning your breaths and then breathing in the same places every time you practice your scales and etudes, you will deliver a more consistent and pleasing musical result, and will also take an important step toward mitigating the effects of nervousness. Because you will have practiced breathing—deeply—in the same places each time, when you are in the audition room you will be likely to continue breathing deeply in those places, rather than taking unplanned and shallow breaths as people tend to do when they are “on edge.”
In order to determine where to breathe, sit down with your prepared pieces and a pencil, without your instrument. Note the places where musical phrases end (look for the ends of phrase markings or slurred lines in particular), and mark breaths in those places, as well as during any rests. In short, figure out where the music itself indicates pauses, and plan to breathe in those places. If this yields too few breaths, or if you are afraid you might need some “extra,” mark additional possible breaths in parentheses. Because you are using pencil, you can always erase and adjust your planned breathing if necessary, but by planning breaths without your instrument you are allowing the music to determine where you breathe, rather than your subjective “felt need” for air. This will yield a very mature and pleasing performance.
10. Don’t practice something