After deciding to continue my music studies at the college level, I realized the importance of selecting the right teacher. Here are a few things I’ve learned with the assistance of faculty from several major conservatories and music schools, big and small, combined with feedback from friends and colleagues also going through the application process.

When should you begin looking at teachers? Most professors agree on the need to spend sufficient time with potential teachers before applying to their studios. “As you begin your search for your future college/conservatory teacher, know that this process could easily take a good 12 to 18 months. . . . Keep in mind, however, that if you plan to spend that amount of time looking, it needs to start as early as May of your sophomore year in high school, since auditions typically take place in the winter of your senior year,” says Andre Gaskins, professor of cello at the Schwob School of Music at Columbus State University in Columbus, Georgia.

How do you decide which teachers are best suited to your needs? You can find teachers in many ways, including word of mouth. Ask friends and colleagues lots of questions. The more you inquire, the more you’ll hear the same names and similar comments on teaching methodology, style, and reputation. Remember, though: word of mouth works as a filter, but it’s not always reliable.

You also should investigate your potential teachers’ credentials through authorized biographies and interviews, academic catalogs, and Internet sources (schools’ and teachers’ websites and links), among other media.

Find out how the scheduling of private lessons and the availability of each potential teacher are managed. Teachers may work at several schools while keeping busy performance schedules that could limit the time they devote to your lessons. Just because somebody’s name appears in a school’s catalog doesn’t mean he or she is a full-time professor. Several of the professors that I interviewed, particularly from small conservatories, suggest that you research the careers of at least some of your prospective teachers’ pupils. Get an idea of how successful these aspiring musicians have become.

Know what you need to learn from a teacher. Do you need more technical or more musical development? Are you a fast learner or do you need extra time from your teacher? You may need a teacher who focuses on specific needs and is flexible, as opposed to a teacher whose methodology is more fixed. Know yourself musically and attempt to match your needs with a teacher’s expertise.

How do you make your short list after all this research? A master class is an excellent opportunity to experience a teacher’s methodology and style, but don’t make this your only method of evaluation. The presence of a watchful audience could be misleading. Nevertheless, you can perceive a teacher’s focus during a master class, either while participating or observing.

A better way to get a good sense of a teacher is to study with him or her at a camp or festival. You may have to spend an entire summer at one camp, so this tactic may be applicable for only one of your top teachers at a time. An alternate method is to finish high school early and spend time after graduation with your top candidates. Both of these ways provide time to sense if there’s a connection.

For others on your list, try to experience individual lessons. Plan a weeklong trip to their institutions. Observe a lesson or two, take a lesson or two, go to a studio class. If there are performances of the teachers or their students, attend to get a sense of their style and approach.

These methods require time and intense preparation, but they provide great chances to demonstrate your technical, musical, aesthetic, and social skills through communication. Express your ideas eloquently while listening actively and learning through a teacher’s observations and suggestions. Relate to people, your prospective teachers included. Also, you can assess how competent your potential teachers and their students are in these areas.

So how should you choose your school? Sure, your choice of school should be strongly tied to your choice of teacher. Ideally, though, you should feel attracted to both the teacher and the school. The more the teacher and the school feel right together, the better.

How many schools should you apply to? I had one friend apply to three, another to six, and another to nine! What’s the magic number? Well, that depends on your situation. Granted, applying to just one might not be smart. And nine might be a hassle. But if you are interested in just a few teachers, then apply only to those teachers. If you plan on continuing with your pre-college teacher throughout your college years, you should still have other schools in mind just in case your situation changes. Trust me: I’ve seen students not get into their pre-college teacher’s college studio for a variety of odd reasons. Be prepared.

What next? Now that you have your short list of teachers and schools, send in those applications. Prepare your audition material as early as possible. Make sure you’re ready.
Your choice of audition repertoire can help you make a good impression. Teachers can get tired of hearing the same old standards. Mix it up a little! If you’re given a list, pick some of the least-known works, or if there’s no list, go crazy. Well, not really, but be creative. And make sure you can perform your selection with confidence, focusing on technique and musicality. Don’t choose something beyond your comfort level.

Don’t relax quite yet. The difficult part is over, or so you might think. Your applications are ready to go, and you have appointments to meet teachers (use e-mail, and if they don’t answer, don’t be afraid to call them). Now you have to ace that audition—a topic I’ll discuss next fall in the last installment in this series.

Editor’s note: This is the second in a three-part series in which 15-year-old cellist Gabriel Cabezas chronicles his search for a college or conservatory.