The Long Game Every Musician Needs to Play: Tim Higgins on Winning the Job, Finding Your Sound, and Staying Inspired

If you’ve ever wondered what it really takes to win a major audition, develop a sound that stands out, and stay inspired year after year in a demanding career, this post is for you.

In my recent conversation with Tim Higgins, newly appointed principal trombone of the Chicago Symphony Orchestra, we unpacked the mindset, strategies, and habits that have shaped his journey at the highest level.

Whether you're gearing up for your own big opportunity or working to deepen your artistry, the insights Tim shared are packed with value you can use right now. Let's dive in.

What If the Audition Committee Is Actually On Your Side?

Let’s talk about something that messes with a lot of musicians’ heads: auditions.

Auditions are wild. You walk on stage alone. You’re judged by people you can’t see. There’s no feedback. No reaction. Just you and your inner critic in a pressure cooker.

It can feel like you’re being thrown into the arena with nothing but a trombone and some shaky self-belief.

But what if I told you that most people get it totally backward?

What if the audition committee isn’t out to get you… but actually wants you to win?

That’s exactly what principal trombonist Tim Higgins has seen from the other side of the screen. Tim has sat on plenty of audition committees — and he’s also taken high-stakes auditions himself (he recently won the principal trombone chair with the Chicago Symphony Orchestra after 16 seasons with San Francisco).

Here’s the mindset shift that changed everything for him and how you can use it too.

Mindset Shift: The Committee Is Rooting For You

It’s easy to walk into the audition room with your guard up.

You assume the people on the other side are ready to tear you apart. You picture a panel of grumpy faces, arms crossed, silently criticizing your every note.

But what Tim said in our conversation is important and I want you to take it in, word for word:

“Once you sit behind a screen and see that the committee wants you to play well, you’ll be surprised.”

That’s it. They’re not waiting for you to fail. They’re waiting for someone to move them.

By the time you're candidate #50 or #90, they are tired and desperately hoping someone brings something alive. Not perfect. Not robotic. Alive.

What They’re Really Listening For

It’s not about nailing every note (although yes, please practice your excerpts).

It’s about showing that you understand the music. That you know what this moment in the piece is about. That you get the character, the color, the role your part plays in the whole picture.

That you can bring it to life fearlessly.

In Tim’s words: “The odd mistake here or there is actually quite forgivable if the impression to the committee is understanding and fearless playing.”

He’s heard plenty of technically clean auditions that were boring. The ones that stand out? They have presence. They take a stand. They say something.

A Tool You Can Steal: The “Does This Change What I Need to Play?” Filter

When you’re prepping for something big, especially an audition, unexpected stuff always pops up. Maybe someone you admire doesn’t advance. Maybe a weird update rolls in about the repertoire. Maybe you find out who's on the committee.

Tim had a mental tool he used every time one of those curveballs hit. Simple. Brilliant. Here it is:

He’d ask himself:

“Does this change how I’m going to get up and play my audition?”

Nine times out of ten, the answer was no. And that was his way to shut down the spiral and stay focused.

You can use that too in any high-pressure performance situation.

One More Thing: Visualization Is Not Woo-Woo

You know I’m big on mental preparation, and Tim confirmed something I’ve been saying for years: visualization isn’t some fluffy side activity. It works.

He mentally rehearsed walking on stage. The lights. The way the room would look. What it would feel like to sit down and play. He even did this while out on runs, replaying the entire audition round in his mind.

And here’s the kicker: he sometimes “missed” notes during his mental runs.

Yep, in his mind.

Which made him realize: if your brain is dropping notes without even holding your instrument, you better believe those shaky moments will come through the horn too.

So he practiced those moments. Not by fixing his embouchure. By fixing what was happening in his mind.

You’re Not There to Please Them. You’re There to Play.

When you walk into an audition trying to please the committee, it shows.

You play carefully. You hold back. You try to blend in.

But when you walk in owning your musical decisions, fully rooted in what you’re trying to communicate, that’s when things happen.

Committees don’t want safe. They want committed. So bring that.

And if you're nervous? That’s fine. Tim shared that even now, with decades of experience and a dream job on the line, he still had to fight the “mental demons” before his CSO audition.

Nerves don’t mean you’re doing it wrong. It just means it matters.

Let’s Make This Real

If you’re prepping for an audition, or any kind of high-pressure performance, here’s your quick recap:

✅ Stop assuming the committee wants you to fail. They want you to win✅ Focus on showing musical understanding, not just technical precision✅ Use the “Does this change what I need to play?” filter to stay focused✅ Visualize the day in detail, especially the hard parts✅ Bring something alive. Take a stand. Make a musical decision.

You’ve got more power than you think. Use it.

If this post hit home, I’d love for you to catch the full conversation with Tim Higgins on the podcast: it’s packed with golden insight.

And if you’re navigating a similar challenge and want support, book a discovery call with me. I’d love to help you show up as the musician you know you can be, no matter the pressure.

🎯 Schedule your discovery call here

🎧 Listen to the full episode with Tim Higgins here