Preparing for a youth symphony audition — whether for Minnesota Youth Symphonies (MYS) or Greater Twin Cities Youth Symphonies (GTCYS) — takes more than just practicing the audition excerpt. Here’s what I actually work on with students well ahead of an audition date.
Choosing Between MYS and GTCYS
One question I get often is which program to audition for. It really comes down to scheduling: if you want rehearsals during the week, GTCYS is the better fit; if Saturdays work better for your family, MYS tends to be the one to aim for. With that said, let me know as soon as possible which one you’re preparing for, since the audition requirements are different for each.
Left-Hand Technique and Intonation
It starts with the basics. I make sure a student’s hand frame or left hand shape is solid early in their lessons. Scales are one of the best tools for developing a relaxed, consistent left-hand shape and accurate intonation. A good hand frame helps students keep their fingers naturally curved and positioned consistently, making notes easier to find. When students play in tune, they build finger patterns that carry over directly into their pieces.
Right-Hand Technique, Bow Hold and Bowing Straight
At the very beginning, I make sure a student’s bow hold is solid because it is the foundation for playing off the string, a skill that becomes especially important once a student is playing orchestral repertoire. A proper bow hold also impacts sound production and helps students bow parallel to the bridge, which produces a clear, resonant tone.
Eye Tracking: Following the Music
Once the left hand is solid, another important skill is eye tracking. Playing in an ensemble requires students to follow the music while also watching a conductor, a skill that scale practice alone does not develop. During lessons, I demonstrate how to point along with the music so parents can reinforce this skill during home practice.
Vibrato
Alongside these foundational skills, vibrato is another technique students may need for auditions, depending on the orchestra level. It is not required for every ensemble, such as GTCYS Philharmonia Orchestra, but I introduce it gradually through exercises with students who are ready to begin developing this skill.
Why Spaced Repetition Matters
With all of these skills, including scales, eye tracking, and vibrato, how they are practiced matters as much as what is practiced. Skills like note reading and vibrato are retained better when they are revisited at different points throughout home practice and lessons rather than repeated all at once in a single block. This learning principle is called spaced repetition. Spacing out practice encourages the brain to actively recall a skill, which builds stronger, longer-lasting memory. The same approach applies to muscle memory, as shorter practice sessions spread over time often lead to better retention than repeating the same skill all at once.
I’ve seen this firsthand. When I revisit a difficult scale at several points in a lesson instead of drilling it repeatedly in a short amount of time, students’ intonation and shifting on that scale improve noticeably faster. This approach works whether I am teaching in person or online.
This approach played out clearly with one student I’ve worked with for eight years, including two years in person and six years online. She will be entering ninth grade and playing in Greater Twin Cities Youth Symphonies’ Symphony orchestra in the fall of 2026. She previously participated in Minnesota Youth Symphonies, where she also prepared for audition requirements such as scales and arpeggios. To help students prepare scales and arpeggios for auditions, I have them use my YouTube channel, Marnie Thies Violin Lessons, to write the fingerings directly into their own sheet music before the lesson. By the time we work on the scale together, the fingerings are already there, and we can move straight into refining it.
Keeping a Steady Beat
Beyond individual technique, orchestra playing also demands something scales alone won’t teach: a steady internal beat. When keeping time with a metronome feels overwhelming at first, I’ll record myself playing along with a steady beat so students can practice against that same recording at home.
Duets
One of my favorite ways to build that same sense of timing is through duets. I like to have students play duets, sometimes with me, sometimes with a sibling or another student, using the second violin part on Suzuki pieces they already know. Most students genuinely enjoy it, and it builds exactly what orchestra playing requires: staying with another player and keeping a steady beat together, not just playing solo. One student played “Allegro” as a duet with her sister for her first recital, and the experience clearly helped her develop both her listening skills and her ability to play in sync with another musician.
Flashcards for Note Reading
Note reading benefits from the same spaced approach as the other skills above. I use flashcards for note reading, spaced throughout the lesson rather than all at once, and I’ve noticed it helps students learn faster and retain it better.
Sharing Lesson Material Ahead of Time
Beyond what we do in lessons, there’s one more thing that can make audition preparation more efficient. It’s entirely optional, but if a student is preparing for an audition or even just working through regular lesson material, having them send me what they’re working on ahead of time helps a lot. It lets me see what they already know versus what actually work, so we’re not spending lesson time revisiting things they’ve already mastered. That extra time can go straight toward newer, more challenging material instead.
Starting Early
Bringing all of this together, timing matters as much as technique. One common difficulty students face once they join an orchestra is simply keeping up with the conductor’s tempo, so before a student joins, I also work with them on building the technique to play faster. If a student is preparing for an audition, I like to have eye tracking and vibrato well established beforehand if possible. This is not a strict requirement, but it is my preference because it allows us to spend more time refining the audition material rather than introducing new skills at the last minute. As with most things in music, the biggest factor in successful audition preparation is simply starting early, well ahead of the actual audition date.
Getting Started
I teach in person in Falcon Heights, North Oaks, and Mounds View, and online. If you’re interested in violin lessons in Falcon Heights or want to talk about audition preparation, contact me to schedule a free intro.