trumpetnick

Few days ago I had a cruise audition which...errr...didn't go so well.

Having a classical background I was so concerned with learning how to improvise I underestimated sight-reading...and the importance of the metronome work. I read actually the notes but the rhythm and the tempo were not as solid as they should be...

Apparently, the examiner liked my sound, but was bothered be the rhythm problem, so he didn't say I wasn't for the job, but rescheduled my audition for another 6 months...The other thing is, that the reading material happened to be more difficult that I expected, so basically I am asking 3 questions to people more experienced with such work...

1. How to balance between trying to swing and being rhythmically correct?
2. I found some notations of embellishments that I am unfamiliar with...any sources to how these are supposed to be performed? Different sort of glissandos, turns etc
3. Any ideas where can I find charts for to read which would be similar to what I can get in the next audition?

So...back to practice.
N.B. I don't have any particular problems to range or good sound. I now how to read and play...it just that the process seems still takes too long to make it work while trying to swing.

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Bear

I had a similiar experience when I auditioned for a cruise line. "Mr. Baird, you sound fantastic! We love your sense of style and your range is great BUT.... there were some time issues concerning you rhythm." That hurt, I was constitenly practicing with a tuner/metronome on the stand, but in the heat of battle, my mind was working on other intricancies and my time sliped. (I was auditioning with a click track... I still swear to this day that the track dropped a beat!! Ha)

I'm not sure how old you are, who you are, or on what level you are, but here's what I've come to figure in regards to your questions:

1. Time and rhythm should take precedence over the swing. Just start listening to a lot of swing rhythms and see how they fit. After a while (you have 6 months!) it'll start to come naturally i you listen!

2. There are a ton of books out there that will break down teh symbology in music. I used a fantastic one in my performance practice class (baroque music, etc) but cannot remember the title. I'll PM you if it pops into mind. There is no "one source" that I'm familiar with and the problem you often run into is that different people interpret the same signal differently. Might be best just to clarify with auditioner before you read the piece down. "Sir, there are several ways to perform such and such, which would you prefer?" That can show that you are flexible, yadda, yadda.

3. Sightreading is very important. On the ship during teh gig, they might just hand you a chart to read in performance. So, get realbooks, read em and try to memorize. Get the Charlier and Bitsch etude books, read 'em, etc. Just read as many and different things that you can. Don't read stuff you know you just read down, get harder stuff to build your skills. Why practice Mary had a little lamb if you can play the Tomasi or Solus?

Now, my disclaimer - I've never been on a cruise ship. They asked me to reaudition at a later date but I was offered an asistantship at a school for a higher degree and I went for that instead. Now I am married, so I don't think the cruise thing will work for me now. Besides, why would any rational man want to be away from his wifes cooking fo that long?! HA. But I've had a lot of friends do it and they all loved it! So goodluck and keep us updated.

Tim

__________________
The task of the modern educator is not to cut down jungles, but to irrigate deserts.
-C. S. Lewis

Life is about learning; when you stop learning, you die. -Tom Clancy

And the seven angels which had the seven trumpets prepared themselves to sound.
-Revelation 8:6

Sofus

Why don´t we guys buy our own boat together and start cruising.
Our women can stear the boat, cook and take care of customers,
while we entertain them with our all brass superband!

Or will women stearing the boat be a pitfall . . .

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Nick

You need to listen to the vinatge big bands while watching or reading (not playing ) the charts.

If you have access to some big band charts, get the recording that goes with it and follow along, paying attention to how the trumpets play the parts.

Listen to 30s and 40s bands of

Tommy Dorsey
Jimmie Lunceford
Benny Goodman
Count Basie
Harry James
Chick Webb


The Basie band with Sinatra in the 50s could really swing.

Look for Billy May and Nelson Riddle Sinatra charts and LISTEN!

PM me for some ideas.

(Buy our CD!)

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Bear

Yeah, god stuff. The Decca recordings of Basie are great!.. If anyone is looking for Basie audio, I think I have just about everything the man did.

__________________
The task of the modern educator is not to cut down jungles, but to irrigate deserts.
-C. S. Lewis

Life is about learning; when you stop learning, you die. -Tom Clancy

And the seven angels which had the seven trumpets prepared themselves to sound.
-Revelation 8:6