wiseone2

Let me say that it is not my intention to offend......................but......

before my first audition for a professional job I have played a C trumpet. In fact, I had a C trumpet in high school. I knew the repertoire cold on Bb or C trumpet. I played with community orchestras, training orchestras, and any and every concert group I could play with. I immersed myself in music of all sorts.
My teachers were members of the Philadelphia Orchestra, I lived in The Academy of Music when the Orchestra played. The All-City High School Orchestra played the Ravel Piano Concerto in G and works of that caliber when I was first trumpet.
I am puzzled by questions about standard repertoire, compositions that we were expected to know almost by memory. Bach, Beethoven and Brahms are composers whose works should be known by any player at the pro level.
I have been asked to play some excerpts from memory at a major audition.
I can not imagine going to an audition for a major orchestra unprepared.
I am a student of Sam Krauss. Sam used to say that he taught students to be first trumpet players.
If a player has any questions about repertoire before an audition, then maybe that player needs more time in the shed.
Wilmer

__________________
Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

rowuk

Nothing offensive Wilmer!
Getting a job in a major orchestra is an HONOR. You probably can never be prepared enough, and that is my beef with players not in the circus that think that their impressions of fairness count.
The difference for you Wilmer, is that Sam Krauss was in a position to help his students get a job, so you all busted @ss to earn HIS respect and confidence. Bill Vacchiano was also in a position to help his students. I am not sure that any teacher today can get a student "placed".
I get opportunities to sit in on auditions here in Germany. The students can tear the solo literature up. The orchestral passages often draw a big blank though. If it is opera, many times they do not even know what it is about! It is like everybody wants to be Maurice André first and if that doesn't work out, then an orchestra job will have to do.
The real world is not Phil Smith or Manny Laureano or Charlie Schlueter, they are the exceptions! Anything that may be asked for an audition is the challenge for the person that wants the job. There is no discussion - especially not from people without those jobs. If you want it so bad that you can taste it, you are only at the beginning.
The only solution is to pay your dues - all of them!
I was told once that the orchestras were looking for 25 year olds with 40 years of experience. I think that sums our priorities up.

__________________
Whenever I feel blue, I start breathing again.

Vulgano Brother

It isn't just a trumpet thing, or a music thing. We see hundreds of men here at the mission that can quote Bible excerpts all day long but can't put them into context. Same with trumpeters.

For the most part, we come from band, where the trumpets are a major melody voice, only to discover that in the orchestra, we are pretty much a special effect.

Excerpts well played not only show good tone, good time and good intonation, but they'll be played in proper context as well.

__________________
www.letsbuildhope.org

wiseone2

I believe in preparation.
I think solos are fine for soloists, but orchestral players MUST do their homework. If you can't play the bulk of the required repertoire by memory, you need to reconsider going to that audition.
No one gets a job by accident. The more knowledgeable a player is about the literature the better. Playing the Haydn great will only get you so far in an audition. Playing Mahler, Strauss, Stravinsky and the bulk of the standard rep great wins jobs. Know what you are going to be asked to play before you hit the stage.
I don't believe that Phil, Manny, Chris are exceptions, I believe they are examples of preparation. They showed up with all the tools and the self-confidence that is needed to play the jobs they hold.
Preparation wins jobs.
Wilmer

__________________
Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

Joe DiMonte

The All-City High School Orchestra played the Ravel Piano Concerto in G and works of that caliber when I was first trumpet.


Was the mighty burner (Charles Earland ) then a sax player and most likely a freshman in the Orchestra ?

__________________
"Clark Terry - C.T.,as his friends call him,is not only a master of the trumpet and flugelhorn,but a master musician and a leader to the manor born." - Dan Morgenstern.

wiseone2

James DePriest was in the orchestra. Jimmy Bond had graduated a few years before. Lee Morgan was still in junior high school, he got there a year or so later.
Wilmer

__________________
Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

Joe DiMonte

I believe in preparation.

This was the rule of thumb in all professional ranks until the late '70s when
some began to learn the tricks of the trade that they never learned the trade.

__________________
"Clark Terry - C.T.,as his friends call him,is not only a master of the trumpet and flugelhorn,but a master musician and a leader to the manor born." - Dan Morgenstern.

Richard Oliver

Wow.

Priceless.

westview1900

My eyes perk up when I see a post by Wilmer or Robin. You two gentlemen seem to have a clarity of thought which I wish I also possessed. Thank you for your posts.

Joe DiMonte

Thanks O Wise One.
I had to do a double take as I usually confuse the name James DePriest with that of SPANKY (DeBrest),a stable mate of the late and legendary Lee Morgan.
Mr.DePriest was one who wrote messages,so to speak,while The JAZZ MESSENGERS communicated the message...and THE BAND played on.

Got to run ...Here comes Betty !

__________________
"Clark Terry - C.T.,as his friends call him,is not only a master of the trumpet and flugelhorn,but a master musician and a leader to the manor born." - Dan Morgenstern.