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How to Organize Your Audition Song Book Like a Boss

The above video and following tips are drawn from our brand-new, free course, The Definitive Guide to Building Your Audition Book, made in partnership with TheoryWorks. Check it out to see many more insights about what makes a great audition book! 

Getting Organized

If you’re heading into an audition and your song book isn’t organized, your accompanist will notice, the casting team will notice, and it will almost certainly affect the probability of you getting the gig. So here are three quick tips for what you need to do to put the finishing touches on your book.

Some of these might feel like common sense, but you’d be surprised how many times I see lazy organization affect professional auditions despite the actor’s best intentions! Check out the full course for more in-depth advice along these lines.

1. Tab Your Selections

Attach “tabs” to the first page of each selection in your book, spacing them out along the right side of the page as you go. This allows you to quickly and easily flip to the spot you’re looking for without having to guess and check. You can label your tabs with the song name or the number in your table of contents.

2. Add a Table of Contents

There’s no substitute for a good table of contents. It can help both you and the casting team easily find what you’re looking for. You can download the TheoryWorks Table of Contents Template below.

Download: TheoryWorks Table of Contents Template

3. Insert Two Copies of Your Headshot and Resume

Put one copy of your headshot in the plastic display folder on the front of your book. This is helpful so you don’t confuse your book with someone else’s. Put the second copy in the inside cover with your resume facing out so the pianist can see it.

What are you waiting for? Learn from the best in the business how to craft an effective audition book that’s going to help you get more shows with The Definitive Guide to Building Your Audition Book.

Or, if you’re looking for a more in-depth learning experience that includes personal support and mentorship from seasoned professionals in the field, head to our Mainstage course, TheoryWorks: Music Theory for Broadway ActorsAnd because you’re a supporting member of the Flypaper community, we’d like to offer you $100 off of the next course session (starting September 6) with the exclusive code FLYPAPERSENTME.

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Amy Stewart
Amy Stewart

Amy is a New York-based actor, singer, and educator and the founder of TheoryWorks. She has performed in opera and musicals across the country. Noted for her "sweet-toned" singing by the New York Post, Parterre Box, and Opera Obsession in ¡Figaro! (90210), Amy was most recently seen in Sondheim on Sondheim at FreeFall Theatre, and in a reading of the new folk musical, Open Road by Paul Scott Goodman, directed by Mark Brokaw (Broadway's Cinderella), and starring Broadway veterans Christy Altomare and Nancy Opel. She also loves classical music by angsty Germans and is a known music theory nerd and Punch Brothers groupie.

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