Cheers, I Hope To Hear From You Soon.
KING SILVER SONIC
BACH C TRUMPET
KANSTUL 1525 FLUGEL
YAMAHA 2330 MKII CORNET
Now that doesn't imply that missing one note is going to make or break an audition, BUT, I have heard directly from people who sat on major auditions that they kicked people out in the first round because one specific interval in on specific excerpt was to wide. Or they were listening intently for how one specfic rhythm was played and it was a little off...
My point being again, the same as what I quoted above, that no one is perfect everyday of the year. And the pressure of the situation changes everything. Playing the job is totally different than auditioning for the job. And that previous sentence is not "my" opinion, I've heard almost every player with a big job say that...
I've been to masterclasses and/or recitals of guys who have huge jobs and their rhythm was not perfect on every single lick and their intonation was not spot on every second, but I thoroughly enjoyed the performance. Unfortunately in a first round of a major audition that might or might not pass you, it depends on a million factors out of your control...
How about the story of the principal horn player from a major orchestra who ananymously took an audition for a local regioal orchestra and didnt' get past the first round... I mean the list goes one with examples. Even Tiger woods misses a "gimmee" once and a while. And he gets to play in tournaments all year, how often does one get to audition? Even if you took every audition you possibly could, it still wouldn't be close. The best you can do is do as many mock auditions as possible, but that's still not the real thing. And I'm sure that the people who do these things probably do fairly well... But if you're playing a full time gig already how much time do you have to do all these things year round year in and out waiting for that big audition to come up...?
As someone already said, this was not a cattle call audition. Resumes were required meaning that the players going had already proven themselves to a certain level. So it's a little like calling out the players who don't make the cut at the Masters after the first two rounds...well...they at least got to play.......
One more thing... I think it's hard to really come down on the "young players" who don't have it "all together" like the players back in "the day", since last time I checked the people who have been doing really well at auditions lately are pretty darn young... and if you don't know who they are then, well...
So anyways, I digress. I don't think there was anything disrepectful in my first post and I hope that my second post clarifies my position even further.
When I read the thread about the Atlanta auditions, I was so astounded that I sent a copy of the results to my private teachers, who has been nearly anal about it since the beginning of time, lol, but now I know its ever the more relevant.
It may have been possible for me to make that audition, lol. I'm incredibly surprised that that's the state of the current market right now. I thought the level of playing was much higher. By the sounds of it, I could have beaten these guys right out of high school!
To the original poster of this thread and his points, I can't agree more, and I think its a shame if that's truly the case. I was expecting something more competitive in nature than that.
"So, I blew the audition, what now"
If you're truly passionate about playing, figure out what you did wrong, if someone won't tell you (can someone tell you why? I've never auditioned yet, still going through the collegiate training) and fix it. If playing truly is your dream, as is mine, never give up, and never let someone say no. That's universal for whatever your dream is, too. Never give up. Fix it, and try again. Do something different. Work harder. Someday, your day will come if you do those things.
The best thing you can do is find a teacher, or even a friend who you feel comfortable with and who knows something about music, and practice with them. Don't let them tell you what you did wrong, but tell THEM what you did wrong. Then, find out how to correct it, and move to the next thing. That's what I'm being taught, and I think it's ever so important, because I've been told that when you're out there, no one's going to tell you when you screw up, or what, mostly out of respect. So if no one's going to tell you, you've got to.
Last edited by Ichierzen; 09-25-2007 at 05:36 PM. Reason: Additional notes and opinions.
all of the viewpoints have their own merit, but what will help the player that got dismissed?
1) a review of ones playing - do I have the basics properly covered
2) enough rest. Sleep is your best friend during stressful times!
3) proper preparation. Quality recordings of the excerpts expected, if possible study the score and talk to a conductor about the "details". Not everyone on the panel is a trumpet player!
4) If you can avoid it, no piccolo trumpet recitals around audition time - it does change your perspective of sound, articulation and dynamics.
5) concentrate on BEAUTIFUL at any dynamic
6) find critical listeners (especially non trumpet playing ones). You will be amazed how much help IS available if you ask.
7) attitude check.
Whenever I feel blue, I start breathing again.
Don't get me wrong, I'm not saying it's super easy or anything, but those were the last things I expected to find as results, considering those are the most stressed where I'm attending. I'm not perfect, that's why I'm attending higher education, I just think its a shame that THOSE are some of the problems, especially with all of the technology today. You could easily put an excerpt into Finale, and I would expect that they all had listened to multiple recordings of a piece.
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