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Discussion in 'Trumpet Discussion' started by rowuk, Sep 24, 2007.
How many applicants showed up to your first audition?
Maybe we just have a conflict of style?
Just like you or any one else here - one taking part in an OPEN internet forum. You can take my advice for what it is worth and what is charged. My credentials are obvious to anybody that reads my posts (the good and the bad). My musical activity, academic title, job and students are my business. They are not public or secret.
As stated, I offer only what I have personally experienced. I am not more critical of others than of myself.
To be honest, over the internet you never really know what the other side really is about. Opinions are based on the quality and attitude of the posts.
I feel very passionately about education, know what was required when I was in music school and conservatory. The bold statement that my students are not in for a surprise when auditioning is based on my concept of calling the shots the way they are. If their timing sucks, that is how I explain it. When they kick @ss, that is also worthy of positive comment. Being up front works - much better than any club robinson approach.
I do not look down my nose at any educators or players. I just hope that the people who were "dismissed" at Atlanta were not "surprised".
That does not put them down either.
Let me explain: if I have a rhythm problem and know it, the results at an audition are clear. If I have 4 years of college and 4-6 years of privat lessons before that and play irrythmically at an audition, and am not aware, what happened? Where is the problem? Where do I go for help?
My premise is that all of those auditionees HAD at least 7 years of lessons. How is it possible that after 7 years their RHYTHM and INTONATION are not spot on? Are they horses that refuse to drink, or were the lessons more concentrated on other things?.....................
More important than hindsight is what to do to get a better chance next time. Business as usual is not the right solution! You need to get MAD and fix 7 years of neglect. Tackle the bull by the horns. Do not try and negotiate - you will end up impaled!
Perhaps these people aren't the ones out there on the circuit?
Sorry guys but this is one of the more irritating threads I've seen here. The competition for jobs performing on trumpet is extremely competetive. If you were lucky enough to actually find out why you didn't advance from the panel's perspective then you have some real input that will help you improve and compete better in the future. Dissappointment is great when you devote your life to something with limited opportunities like orchestral trumpet playing and then get "rejected". Get out the metronome if that's what it takes and compete.
25 and I won the job.
I'm so glad I decided quickly in my career not to pursue orchestral music.
Every teacher I had was not reluctant to tell you EXACTLY where you were in the trumpet world. Gil Johnson did not mince words, nor did Krauss. If you weren't ready for auditioning they did not pat you on the back and send you out clueless. We were prepared and ready for any audition.
I studied with some pretty heavy hitters and they all patted me on the back. I have only taken two major auditions and didn't expect to get in and I wasn't prepared.
Now here is the real question: How do you get prepared?
In my lessons I worked on all the usual stuff and I listened.
When I started playing out I found that the community orchestras couldn't even think of playing the literature needed and the per service professional orchestras rarely played what is needed.
So what do you do? Get a CD of Mahler and get a part and play along? I am being serious.
I looked up Charlie Schlueters first start and it was Kansas City Philharmonic. Was he prepared for that job? It was the first one. Where did he get his experience.
Phil Smith started with the Chicago Symphony. Where did he get his experience.
I read somewhere that William Vacchiano got his first job with NY
How can you know all the lit when it's your first job?
Phil Smith, Charlie Schlueter, and Manny Laureano are students of William Vacchiano. Bill Vacchiano turned out an amazing amount of symphony orchestra players. Before they set foot on stage for their first audition they knew how to play the required repertoire because of their teacher, Vacchiano.
Juilliard has many orchestras that play the symphonic repertoire.
In my case growing up in Philadelphia was a blessing. By the time I had graduated high school, the All-City Orchestra had played many major orchestral works. I had a C Trumpet, and worked with Sigmund Hering on orchestral playing. I later studied with Sam Krauss, and had a summer studying with Gil Johnson. I played first trumpet with the Pennsylvania Ballet and several of the local orchestras........ all before my first pro audition.
You must be prepared BEFORE you play your first audition.
Listen to music every chance you get. Play in every orchestra you can. Work on all your horns.