When we eventually come to that momentous day when the student is assured by his teacher, as well as his friends, that he is justified in seeking professional engagements. He goes forth to find them. The first hurdle he faces—and one which he will repeatedly have to face throughout his career—is the audition. Few persons are at their best at an audition, for these ordeals usually occur in unfamiliar surroundings, are arranged upon very short notice, and are generally so very brief that the singer barely has time to warm up before the whole session is over.

The choice of songs for such auditions must be determined by the effect one wishes to make and the type of position for which one is auditioning. First impressions are very important, and as time is short the singer should use such songs as best display his finest qualities, or those which are most necessary in the position for which he is applying. Needless to say, the compositions used should be so familiar to the artist that they can be sung with aplomb despite his inevitable nervousness.

Some auditions allow for only one song, others for a group. If the group is permitted, the first song should serve to warm up the voice. This also allows the singer to calm his nerves, judge his audience and the acoustics of the room or hall.
It is only natural that every auditorium should have acoustics peculiar to itself. A small room with a good many people in it does not allow for much dramatic interpretation in very full voice. Continuous volume of forte sound will cause the audience discomfort. A small room and gathering allow the singer to use subtle and suitable shading, calling for easy, smooth-flowing vocalizing, with interesting gradations of tone. Forte passages for emphasis, and to show the brilliance of the voice, can be used only occasionally.

On the other hand, a large barn of a hall will not allow the singer much latitude in putting over delicate nuances, for beyond the first rows much subtlety is lost. Such a hall calls for more sweeping and dramatic interpretations aimed for the very last row. This does not mean that shading and interpretative intonation are impossible; correct mezzo voce will carry anywhere, but the general effect of the selections chosen must be broader in feeling.

If an audition is to consist of more than one song, the first, then, should allow the singer to "warm up"; the second should show off the dramatic possibilities of the voice; and the third, the agility of the voice and the personality of the singer. If the audition is a success, the singer will probably be asked to sing further selections. There should be a number on hand, material of every type, so that the judges may select anything suitable.

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