Mock-recording protocol
The Stauffer submission is a recording, not a live audition. The skill you are building is: produce a clean full take, with intonation that survives a condenser mic, while managing how many takes you do (your back cannot handle 20 runs of Don Juan). Rig available: AKG condenser + Zoom + MOTU + camera.
Why mock recordings, not just run-throughs
- The mic is merciless — intonation, bow noise, and tone are all exposed. You hear exactly what the panel hears.
- A full take is a different skill from drilling a spot: it asks for continuity, recovery from a small slip, and pacing your energy across the whole excerpt.
- You want the real session to feel familiar, not like the first time you have played under pressure.
Take budget (protects your back)
Set a take limit per excerpt per session and stop when you hit it — fatigue hurts your tone and risks your back:
| Excerpt | Suggested takes per session |
|---|---|
| Don Juan (HIGH) | ≤ 4 |
| Schumann 2 (HIGH) | ≤ 4 |
| Scheherazade (low) | ≤ 6 |
| Brahms (moderate) | ≤ 5 |
Your back overrides the budget: a-bit-sore → halve it; genuinely sore → no recording (rest or seated work only).
Session flow
- Back-check + physio set + general warmup + a light specific ramp. Do not tire yourself before a take.
- One excerpt at a time. Best-take mindset: commit, play through any slips, log the take.
- Listen back straight away and note 1–2 things to fix; re-take within budget; move on.
- Log each take in
tasks/practice_log.md: excerpt, take number, BPM, intonation / rhythm / tone scored 1–5, keep or discard, notes. - Post-practice back-check.
Build across the 6 weeks
- Week 2: first low-stakes mock — one excerpt, listen back, no pressure.
- Week 3: mock the lyrical pair (Scheherazade, Brahms) as full takes.
- Week 4: full mock sessions of all 4 excerpts; start identifying keeper takes.
- Week 5 (taper): full mock sessions → real recording sessions; fresh hands, fresh back; assemble your best takes.
- Week 6: final session(s) → review → submit by 8 Jul. Minimal playing otherwise.
Recording setup checklist
- Keep mic placement consistent session to session (note the distance and height so takes are comparable).
- Tune carefully; check tuning on playback — the mic and room can deceive your ear live.
- Camera framing per submission requirements (confirm Stauffer's format and length rules).
- Room: minimise HVAC and traffic noise; consistent acoustic each time.