Moderators: Classitar, pied_piper, Phineas
, but I do have pretty good tone and musicality. So to all the teachers, auditioners, or people know good advice 
, should I play to my strengths and select a piece that is not as technical but exemplifies my qualities, or should I chose a more technical piece but one that compromises my tone? I likewise didn't mean to imply my student was an inferior flutist, just that I felt her tone needed much more work (apparently someone else didn't agree), and I was a little surprised she placed so well. I was simply suggesting that you match your best characteristics with a piece that most fully showcases them, while avoiding the kinds of pieces which prominently feature things with which you're currently less-pleased 
, while continuing to practice, of course. An astute listener will always be able to discern elements at which you're strong, as well as the traits of your playing which merit more thorough practice. He or she may, however, give you credit for choosing the right kind of piece for YOU. The suggestion to develop a good technichal practice routine is certaily sound; how are you practicing technique now? Non-flutist band directors are often dazzled 
by young players who can play a lot of notes, while not realizing his or her technique is really undisciplined (theoretically, doesn't yet exist 
), and might score low marks in an objective audition outide of school. ((Some auditions have turned into just technique contests, unfortunately, because it's the one element of playing which is basically objective and measurable.)) This was me 20 years ago--all the ability, none of the instruction/discipline. My playing really took off later, in college, working with a real flutist and studying real flute etudes and exercises. If you're attempting pieces from the French book, you must read well, and have the potential to develop good technique or play many notes well. However, unchanneled, undisciplined technique can make these pieces frustrating to young players...though I have discovered I can use these pieces to teach certain elements of technique. A few students have expressed interest in this book before I thought they were ready, but, a couple times, I've said yes, on the condition we treat the piece, in one respect, like a big collection of technical exercises. I was reluctant to try this because I was worried the musical enjoyment would rapidly drain away, but the students in question were singularly focused, and very persistent, and were later able to apply their newly-refined technique and practice habits to other pieces. The Gaubert would be good for an audition, but I think it's one of the tougher pieces in the book. I feel its starting tempo as quarter note somewhere in the low sixties. (This is for school?) Chaminade is done to death, so I'd maybe avoid that one--even non-flutists are pretty familiar/tired of this one, though it's attractive. Have you done the Faure Fantasie yet? Its intro-slow section is much shorter than some, allowing you to show two tempos and styles in a little less time. A couple of my students have been perversly attracted to the Louis Ganne Andante et Scherzo. Its first two pages combine a tranquil melodic line with lightly-articulated sixteenths (again, quarter note in the sixties, to start) and some truly challenging trills, for many players. Musicality is certainly important to string it all together nicely. The Gaubert Nocturne is good, too, and allows you to show off diverse rhythmic-reading skills. And I love the last piece, the Taffanel, but it stays around the mid-range of the flute during much of the slow movement, and a solid knowledge of compound meters is critical. The Scherzettino is cute, and, again, stays in a moderate range, but should be played pretty fast (and clean!). The Cavally book I like, but it's in my studio and I'm home, and I'm drawing a total blank regarding its contents, argg! I haven't been using it much of late, as I've got several beginner-type students, and a few very advanced, and, strangely enough, that intermediate level is kinda missing from my life right now. The Bach excerpt is nice, from the B minor suite--Badinerie is great if you're got the clean fingers and articulation, and the Faure Sicilienne, but that's not very technical at all. Keep us posted! , so time's an issue). Auletes, I'm curious as to what age or level auditions with Farue's Sicilienne or Gaubert's Madrigal. Pretty as they are, I'd be embarrassed to play them as audition pieces for my college director! 
It'd be great to slow the craziness and really appreciate incredible artistry again, but good luck at that! I had an interesting experience last fall, while singing with an amatuer chorus in town (good one ). The sopranos don't read too well, so I had to sing instead of play on our newly-commissioned piece, for chorus and wind ensemble. Everyone listened almost breathlessly during the rehearsal as an outstanding local clarinetist/band director made sublime music with a two-quarter-note motive. Awesome! P= Anyway, we have to try really well to match a piece to our own strengths, as well as the purpose of the audition, something challenging enough to win respect, but not so hard it can't be played with clean technique, good tone, and peace of mind, simultaneously. A lot to ask sometimes!!! Are you sure you won't be asked to play the part to which you refer as "a nightmare" ? That would be my sole reservation, since, sometimes, the auditor doesn't stop listening before we want them to! PS Cavally's good; do you have any technique books?