Page 31 - AYO Governance Manual Draft

For the piece of your own choice, preference is for:
 a movement from a sonata or concerto, accompanied or unaccompanied
 a musical etude or piece from the standard solo repertoire (brass/wind)
 solo Bach for strings is acceptable, but an additional work is recommended

Your annual Players Subscription of $150 must be paid now if it has not already been paid (12-3030-0505986-
00, with your name in a reference field please). If we are not able to offer you a place in AYO for next year,
your subscription will be refunded in full.

Your subscription will be refunded, less a $50 administration fee, if you find you are unable to audition and
advise me by [enter date]. Failure to audition will otherwise result in forfeiting the subscription paid.

 Send out to the Music Director and audition panel members:
o the final list of audition times
o directions to the audition venue
o contact details of the coordinator if there is a problem on the day.

 The audition coordinator, or someone delegated by them, should be present at the door to
welcome those auditioning and to direct them to warm-up rooms and the audition room.

 Photocopies of excerpts should be available for panel members and for those musicians who forget
to bring them to the audition.

 A meeting with the Music Director should be held at the end of each day of auditions to assess
progress and prepare in advance for accepting musicians into the orchestra.

 Once auditions are complete, the Music Director, and the audition coordinator will compile the
player list. This will include ranking string sections.
 An acceptance email should be sent to successful applications and an email should also be sent to
unsuccessful applicants. See Table 6. For template letters of acceptance and rejection. In the
rare case of an existing player not being successful in their audition, they MUST be sent a
personalised email, taking extra care with wording and encouragement.

 A date in mid-January should be organised as a reserve day for those applicants who cannot
make the main round of auditions, or for those people who were late in applying. The Player
List should then be amended once these auditions are complete.

Those whose auditions have been successful should be sent:
 the Player List, containing names and residential suburbs (to aid carpooling) – do not share phone
numbers and residential/email addresses
 Player Handbook
 Rehearsal and Concert Schedule.
 A 'contract' or 'memorandum of understanding' for them to sign and email back (or to bring to the
first rehearsal) in order to consolidate their commitment to the orchestra.

Contract/Memorandum of Understanding

 A constant problem for AYO is people pulling out during the year. This sometimes
compromises the artistic standard, by putting repertoire choices into jeopardy, and frustrates
tour arrangements.
 The term 'contract' can be intimidating, particularly since most players would have never
signed a binding agreement before. An alternative is to issue a memorandum of
understanding, which formalises the existing flexible relationship AYO has with its players.

Whether a contract or memorandum, certain matters must be included: