How To Prepare Your Audition Book: Working With Accompanists

Are you ready to make your dream of becoming a musical theatre performer a reality? Get your journey started on the right foot with the best tips on how to prepare a musical theatre audition book from an experienced insider.

We finally get to do this because it was meant to be. The stars aligned, and we made magic happen. When BroadwayWorld asked me to come up with a guide on "How To Prepare Your Audition Book," I was more than happy to oblige.

As a longtime accompanist, professional pianist, and vocal teacher, this felt like the perfect opportunity to allow budding musical theatre actors draw from my well of experience and enjoy a blissful acting career.

Truth is, your musical theater audition book is one of your tickets in if you're looking for your big break into the musical theater industry. However, there's more than meets the eye when it comes to getting the whole song ready for the big stage.

In this post, I'll hold you by the hand and walk you through all you need to know to create an easy-to-read audition book and perform songs that are beautiful to listen to at auditions.

The following bits of advice and at-the-piano and behind-the-table wisdom have been distilled from my 30+ years of playing at auditions. While I make no claim stating that "my way" is "the only way," "the right way," I can safely say that much of what I share or teach below, based on my job, has been discussed with many other audition pianists over the years, and we are all in agreement on many of the topics.

Ready? Let's get right into it!

How to Prepare a Musical Theater Audition Book Like a Pro

You want to wow the casting directors with your singing and acting skills, don't you? You want to put your best foot forward and prove to them that you have the X-factor? I know this better than most. Why? I've been there, done that.

As a voice teacher, I can tell you that having a vocal coach prepare you for your big presentation can be helpful. It improves your chances significantly. But you want to go all the way, and to do this, you need to master the art of working with the accompanist provided during your audition.

Every time I play piano in Broadway audition rooms, I've one goal in mind — make the actor or singer sound amazing. So, it hurts when I struggle to do that because the music in the audition book is confusing, disorganized, and illegible. This throws a spanner in the works and ruins what should have been a successful audition. Now, the big question is: How do you prepare the ideal audition book?

Below are some tips that will come in handy.

1. Get a Clean Copy of Your Music

When you copy a piece of sheet music, your ultimate goal is to achieve an exact replica of your original pages (with the proviso that your original is itself a good copy in the first place).

Here are some things to factor in when copying:

• Print out a legible copy of the sheet music for your song. The notes and lyrics should be clean and clear against the white background of the paper. No grayscale. No faded print. No lines and waves from a fax machine or a misaligned inkjet printer.
• When you copy a piece of music from a book, retain the pagination of the original. Keep the "left" pages on the "left," and the "right" pages on the "right". There are some exceptions to this rule, and you'll figure them out easily as you go on.
• Make sure that all of the notes that you wish the pianist to play — all the music that you want and need to hear of your accompaniment — make it onto the page. Include the top line for voice and the lower two lines for the piano/vocal score. Remember, a pianist can only play a bass line if the bass line is there to read.

2. Make 4 Copies of Your Audition Music

Sia once sang in one of her songs, “You're never fully dressed without a smile.” In the same light, you're never fully ready for an audition without 4 copies of your audition music. So, here's how to go about this:

1. Get yourself a copy to use during coaching and workshops.

2. Get a 16-bar cut in a non-glare plastic sheet.

3. Get a 32-bar cut in a non-glare plastic sheet.

4. Get a copy that you can file away if you need to change your cuts.

3. Handpick your Audition Cut

An audition cut is a 16 or 32-bar (approximately 30 - 60 seconds) excerpt of a song specifically created to show off your acting ability and vocal range within a limited time. It must tell an impressive story and must have a clear beginning, middle, and end.

Consequently, you need to carefully pick an audition cut from the lot. Any audition cut you opt for should allow you to display the best of your acting skills and vocal range. Most times, your best will occur at the end of your song, as this is oftentimes where the climax or “money note” happens. Nonetheless, this occurrence is solely dependent on the song.

Ensure you have a 4 or 8-count introduction in place. This will help you hit your first note right and ease into the right tempo with your accompanist. The count introduction is usually two measures before your audition cut.

When interacting with fellow insiders in the industry, we admitted that the 16-bar cut doesn't necessarily have to be 16 bars, provided that you sing for 30 seconds. In the same vein, a 32-bar cut is about 60 seconds of singing. Fun fact: The casting directors barely count measures or take the score.

Now that you've handpicked your cuts, prepare and organize them for an effective auditioning experience. We'll be throwing light on this in the next section.

6 Key Strategies for Organizing Audition Cuts

Below are 6 tested and trusted steps you can take to put your cuts in the best condition ahead of your big day.

1. Format Your Music Like A Book

Music has been published in books for years. With the advent of digital publishing and PDFs, the point of reference for many people in regards to sheet music is single sheets of paper coming out of a printer.

So, if you haven't held an actual music book in your hands in a while, dedicate time to explore a book of published vocal selections or a vocal score, and take notice of a few things:

• Where the page numbers are placed on each page, in each corner.
• How the layout positions page turns at points in the music, allowing the pianist to lift one hand from the piano for a split second to turn the page, minimally disrupting the flow of the music (if at all).

2. Format for the Pianist

Always include the original title page of your song in your book. The following bits of information can and do provide more than 'just the facts' for your pianist:

• Title of the Song
• Title of the Musical
• Composer
• Lyricist

Additionally, there are usually some musical markings and indications presented on the first page that may still apply to the musical material on the second or third page:

• Tempo Marking: Ensure the tempo marking is positioned at the top to give the pianist a quick hint of what they'll be delivering. Mark the introduction, possible tempo changes, pauses, ritardando, and the like with a bold marker.
• Key Signature: Clearly circle the key signature (and time signature) in pencil on every staff where it appears or changes. Ensure the key is correct for your vocal range, and if the song starts in the middle, write in the key signature yourself. Use a highlighter to mark the starting/ending points and map out any cuts to assist the accompanist

You may not need some of that information during the course of your audition, but your pianist definitely will.

3. Categorize by Style

You can categorize your audition cuts by organizing your binder with tabbed dividers, specifically splitting the songs into ballads and uptempos. After which, you can further divide by the musical theater genre, like Classical, Contemporary, Golden Age, Jazz, Pop, 90s, and the like. Ensure you use clearly specified 16 - 32 bar cuts (roughly 30 - 60 seconds) in each section to aid navigation.

4. Format Page Turns For Auditions

If your song is just two pages long, arrange those pages side-by-side for the pianist. There are many instances where a two-page cut has been copied back-to-back on a single piece of paper, thus adding a page-turn where there never had to be a page-turn in the first place. Instead, spend the extra minimal amount of time and money to make another copy.

If your song is three pages long, setting it up so that all three pages are placed side-by-side is always appreciated; however, it isn't always necessary. One page turn isn't going to ruin your audition, and trying to minimize the possibility of page-turns in your sheet music should not be a source of stress and worry for you.

Nonetheless, if you need more clarity on how to arrange your copy of "My Perfect Audition Song" that you have printed out, then try to find a copy of the vocal selections or the vocal score of "The Musical That Contains My Perfect Audition Song," and use that original layout as a guide for arranging your single-sided, unbound pages. These are great resources that can help shape your approach.

Note: Reducing the size of your originals in order to make your song take up fewer pages only ends up making small prints appear even smaller, and, thus, harder to read for the pianist.

5. Keep the Sheet Music Together

Handing your sheet music over to the pianist in the form of loose, single sheets of paper is always a gamble. Here is why: The piano's music ledge may not be engineered to securely hold single sheets of paper.

And what's more, there may be a draft in the room, which could cause one or all of the pieces of paper to fall off the piano. Additionally, the vibrations and motion caused by the pianist's playing could cause your pages to fall off the piano. The paper could also bend in on itself and then fall off the piano.

Therefore, after you retrieve your pages from the printer or copier, take the time — and it really doesn't take that much more time — to prepare and present them properly for the pianist.

You can place your copy in a 3-ring binder so the music doesn't fall off the piano in the middle of your audition. For the record, I am a fan of using 3-ring binders, but affixing pages to a manila folder or pieces of cardboard is still a tried-and-true method for many reasons, especially when used for cattle-call types of auditions (UPTA, SETC, Unifieds, etc.).

6. Do Your Last Checks

After building your audition book, which takes the form of a 3-ring binder filled with clean and legible copies of each of your songs, you shouldn't rest on your laurels. Rather, make it a habit to go through it to check that your copies have remained clean and legible. Sometimes scribbles can accumulate over time.

A hole-punch may start to fray, causing it to fall out of your binder. Or a page turn made somewhat overzealously could have resulted in a big crease or wrinkle. Evidence of your last Starbucks order may have blotted out that important key change. And you don't want all of these to happen. So, prioritize your last checks.

Should I Use Sheet Protectors?

You are probably wondering if sheet protectors make a difference. Stop wondering as I introduce you to my school of thought on this subject matter.

All I will say about this matter is this: Honestly, I don't care either way. I really don't. If you wish to stir quite the debate, then just bring the topic up in a forum such as a Facebook Group filled with audition pianists, and, trust me, you will get many a hard-headed opinion on both sides of the binder.

Many recommend that you use a non-glare sheet protector so the accompanist doesn't have to deal with the harsh rehearsal room lights that reflect on the music and make it hard for them to see.

Here is the thing: Do know that those products labeled as "non-glare" don't always end up functioning as such in the audition room. But, again, I have no preference either way. And if the copy of your sheet music is hard to read outside of a sheet protector, placing it in one ain't going to miraculously clean it up.

How to Work with Any Accompanist for a Successful Audition

In some professional auditions, it's acceptable to come with your own accompanist, particularly if you have a set arrangement or need someone who is familiar with your style.

However, in many large musical theater casting calls or high school/college/university auditions, you've to make do with the staff accompanists provided for the auditions, as any external personnel won't be allowed into the audition room. Now, you have to work with the available accompanist. So, what do you do?

Of course, you've to get your sheet music to the accompanist in advance. One of the primary things I need to see when you place your sheet music in front of me is where you wish to start and where you wish to end.

This can be done with something as simple as a point of your finger, a pencil mark, or a Post-It note. If all I have to do is read it from the start to the end, from the top left corner to the bottom right corner, then no additional marks may be required at all.

However, if you have to make a cut or two in your song, err on the side of simple and succinct when marking your cuts. A pencil and a straight-edge (a ruler or your ID card) are usually all you need.

If more extensive road-mapping is needed, and sheet music is essentially a map of the melody and harmony of your song, it's always best to run it by a pianist before and after you mark up your music, but always before you bring it into an audition.

While highlighters and BIG ARROWS can be helpful, do know that sometimes those markings can actually be a distraction, especially in cases where any sort of cutting has been minimal or non-existent.

That block of highlighting and that BIG ARROW that was meant to help the pianist at a particular point - "DON'T MISS THIS!!!" - can end up continuing to draw the eyes of the pianist even once they play past that point - "KEEP LOOKING AT ME!!!".

There are also times when the fluorescent yellow or green ink is applied in such a way that it ends up obscuring the very details it was meant to highlight, such as the key signature, accidentals, and tempo changes. (Notice how your eyes are still going back to "KEEP LOOKING AT ME!!!"?)

How to Audition in Musical Theaters for a Casting

1. Choose Songs that Suit the Audition

Pick great songs you love to sing and are performance-ready. Those that showcase your vocal range and acting skills fit the audition's genre. In a nutshell, it should have a good mix of tempos and styles you're good at.

Additionally, come with sheet music marked to show the ideal key and the notes you want the accompanist to play. It's advisable to go with 10 - 12 songs you can deliver with ease, rather than songs that you're still working on perfecting.

Ever found yourself doubting your song choice? Ask these questions:

• What's the story the song tells from the beginning to the end?
• Can it flow seamlessly when played on a piano?
• Do I get to express my emotions without holding back?
• Does the song reflect my humor, taste, or voice?

If your answer is yes to these questions, you are right on track for success at your next audition. When you have the right song, you'll feel a connection that makes you feel at ease when performing it.

2. Get Ready for the Occasion

Get to your audition on time, look the part with your outfit, and get your vocal cords warm. Ensure you are comfortable with your introduction and ready to introduce yourself and your piece.

3. Maintain Composure in the Audition Room

At this point, you're closer to your big moment. Nonetheless, you can still set the right tone for your audition by introducing yourself confidently once you find yourself standing in front of the panel.

After doing this, mention your key and song title. While displaying what you bring to the table, make eye contact and engage the panel with your delivery. Own the stage like you were born ready to do this.

4. Perform Before the Casting Directors

Sing your heart out, breathe intermittently, and get immersed in the music to the point you're enjoying yourself on that stage. Truth is, mistakes can happen.

But here's what you're going to do if you find yourself in this tight spot: You're going to wave it off like it's nothing and not make it obvious or allow it take a hit at your confident delivery.

Never allow mistakes throw you off. Always remember that the show must go on, regardless of what happens on that stage.

5. Leave the audition room

Now, it's time to leave the audition on a high note. Thank the panel for the opportunity. Then, step out in style and with a smile on your face. Making moves like this oozes confidence — and as they say, “Good energy is contagious.”

What To Do If You Make A Mistake With Your Music

Starting your audition with an apology regarding the condition of your sheet music can be disheartening, but it shouldn't be the end of the world. Instead, make lemonade out of the lemons of the audition jitters. Rather than say:

"I'm sorry, this is a messy copy."
"I'm sorry it's wrinkled."
"I'm sorry I didn't have time to 3-hole punch it."
"I'm sorry it's falling out of my binder."
"I'm sorry this is hard to read."

Flip the script as quickly as possible. For the most part, these are all simple fixes: Just take the time to fix them now so that you don't and won't have to make the same apology again the next time.

Let's run through these fixes:

• If it's messy copy, quickly tidy it up or move on to the cleaner or more appealing version if you have one.
• If it's wrinkled, smooth it out without losing your composure.
• If the holes are not punched, flip the pages carefully.
• If it's falling out of your binder, clip it together.
• If it's hard to read, highlight the important part or bring out the clearer copy.

The goal is to sort out the issue efficiently and quietly, without drawing more attention to whatever you have going on.

What Should I Not Sing At Auditions?

I would like to speak out on one bit of 'advice' that has continued to be doled out over the years: "Don't sing Sondheim. Don't bring in Sondheim to an audition because it is too hard for the accompanist."

From what I can tell, that bit of so-called advice has been around ever since songs in the Sondheim canon came into publication. Nowadays, it seems that that 'warning' has been extended to other composers, with Jason Robert Brown bearing quite a bit of the brunt of it.

If one were to take that piece of advice to heart, theatre companies would avoid producing shows such as Into the Woods, Sweeney Todd, Songs For A New World, and The Last Five Years simply due to the fact that they would never be able to find a pianist to play Sondheim and JRB in their auditions. However, we all know that those shows do get produced quite regularly, and theatre companies do manage to find pianists who are able to cover their auditions and callbacks for those shows, as well as play for rehearsals and in their pits. There are pianists out there who, in fact, enjoy sight-reading and playing that repertoire without a hint of grumbling, anxiety, heavy sighs, or dirty looks.

Do some of the piano accompaniments of songs by Sondheim and JRB present some technical and musical challenges? Yes, of course, they do. That's part of what catches our ears and hearts; that's what makes them worthy of study and performance. But there are also some "not easy" piano accompaniments written by Andrew Lippa, Pasek and Paul, Adam Guettel, Tom Kitt, Stephen Schwartz, Jerry Bock, Harvey Schmidt, Leonard Bernstein, Frank Loesser, Frederick Loewe... And, yes, even Richard Rodgers!

While my audition pianist colleagues and I do appreciate you trying to ease our stress during the course of your audition, presenting us with songs with easy and easy-to-sight-read accompaniments doesn't really do either of us any good. While there are definitely some songs out there that present challenges for the pianist - and many of them have NOT been written by Mssrs. Sondheim and Brown - there is so much "standard repertoire" out there right now, and singers should not refrain from, nor be scared of selecting, studying, and bringing them into an audition when appropriate. Keywords: when appropriate. Producers should do their best to find and hire the best pianists for their auditions.

In turn, pianists who want to break into the audition pianist circuit should strive to become one of those "best pianists"... And that's a topic for another column. Stay tuned!

Final Words

While I appreciate a piece of sheet music that has been presented to me in the form of a flawless 'arts and crafts project' or a beautiful custom-printed cut, know that many times, what is already on the page is all you need to present to the audition pianist.

While a perfectly legible copy of your sheet music won't guarantee that you'll book the gig, it can help to ensure that your initial interaction with the pianist will be a good one, a productive one. And that can lead to a good audition experience for both you and the pianist. And maybe even a callback.

Simply put, you're better off striking the right balance between getting the audition in top shape and acing the stage performance like a pro. This can lead to a good audition experience for you and the pianist — and maybe even a callback.

Remember, if you need to work with a voice coach or get a pianist to review your audition cuts to ace your audition, don't hesitate to get one. Cheers to your success at the next audition!

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