TubeNet

State Band auditions are comming up pretty soon.. (jan. 6)
I've been practicing pretty hard, about 2hrs a day this weeknd and about 4 hours a day the past few weeks. This being the last week before the auditions, is there anything more i should be doing (exercises, technique builders) , besides just generally practicing?

Thanks

Spend 30 minutes or so each morning on warming up, fundamentals, whatever you want to call it. You MUST continue to work the basic. Spend another hour or so each day on fundamentals of interpretation and technical aspects along with basic sound production and the like.

Regarding the excerpts. Use a clock and spend 15 minutes exactly on EVERY excerpt or page. Depends on how the list is setup. Be certain to hit EVERY excerpt for 15 minutes EVERY day. Don't dwell too long on the "tougher" ones and don't cheat time on the "easier" ones. Treat ALL of them equally.

Spend another hour or so on the solo if their is one doing the same 15 minutes/page or so. Divide the time equally among pages to ensure EVERYTHING gets equal time.

This works for me when the audition material has been worked out technically and musically for the most part. The above structure really helps to make me equally comfortable will ALL the list to ensure I am not as nervous on audition day. I use a different method when I first get material and am learning it. By now ALL the material should be easily playable.

By the time the day arrives you will have run through all the list so many times that it should be automatic.

If you choose to not hit every tune every day between now and then, then that is your decision.

If there is sight reading then practice sight reading EXACTLY as you will have to audition it. Flip open the page, spend 20-30 seconds looking over the material for changes, key, time, rhythm, intervals, style, dynamics, etc. Then count off in your mind and start playing with constant time and no stopping. After playing the tune, maybe spend 10-15 seconds reviewing what happened and then flip the page. DO NOT go back. It is too late. Keep moving. If you want a more in depth analysis of what happened then record it and play back the recording AFTER the sight reading practice session is over.

The day before the audition DO NOT overplay. Take an easier day so conserve your face and mind. Run the list straight down once and do some fundamental work. Focus on the sound, time, intonation, and interpretation.

The day of the audition, bring something to keep your mind off of being nervous. A book, ipod, whatever. Also don't overpractice that day. Be well warmed up and have the mind ready, but don't blow your best notes in the practice rooms.

Scooby Tuba wrote:Since Woodsheddin' pretty much gave you the definitive audition primer, I'd just like to add that you should also practice the process wearing the clothes you plan to wear to the audition. Discomfort can be a real distraction. Make yourself as comfortable as possible while wearing appropriate audition clothes.

This is an excellent point. Dealing with a tie in an audition when you don't normally practice with one can be a GREAT distractor. Same thing with sport/suit coats that have those nifty little buttons at the wrist that seem to get caught on horn hardware at the most inopportune time.

Lots of good stuff said. Do your utmost to eliminate or reduce possible distractors. Distractions are just that and distract from your concentration and focus, not good things when you need every possible advantage.

Good luck!

Here are some "Don'ts" I listed on the old TubeNet:

1. Do not have a marathon practice session the day before.

2. Do not make any equipment or repertoire changes close to the audition.

3. Make sure ALL tuning slides are properly set prior to beginning (may get moved going in / out of bag.)

4. Allow enough time for adequate warmup immediately beforehand.

5. Do not engage in any non-musical activities that may stress you out or leave you pinched for time on the day of the audition (see #4).

6. If there are any physical chop problems (chapped, dry, raw) treat them immediately (vitamin E, aloe, vasoline intensive care, etc) before they worsen.

bonus for men with sensitive skin: Do not shave immediately before / after long practice sessions.

And the day of the competition remember....

Trustyourself--Everything you've done untill then has prepared you for that moment. Be confident in your ability and relax, YOUR ONLY COMPETITION IS YOUR SELF!!!!

Forgiveyourself--What happens in the room stay's there. Don't worry about flub's they happen to everybody and if you feel you played your best then that's all you can ask of yourself.

I personally LOVE competitions they test your ability and your nerves
and you get to meet more people that play your instrament....

Have a blast!!!!!!!

Repectfully,Puresound

Eupher6 wrote:

Scooby Tuba wrote:Since Woodsheddin' pretty much gave you the definitive audition primer, I'd just like to add that you should also practice the process wearing the clothes you plan to wear to the audition. Discomfort can be a real distraction. Make yourself as comfortable as possible while wearing appropriate audition clothes.

This is an excellent point. Dealing with a tie in an audition when you don't normally practice with one can be a GREAT distractor. Same thing with sport/suit coats that have those nifty little buttons at the wrist that seem to get caught on horn hardware at the most inopportune time.

Lots of good stuff said. Do your utmost to eliminate or reduce possible distractors. Distractions are just that and distract from your concentration and focus, not good things when you need every possible advantage.

Good luck!

I'll agree with all of this. However, you should still dress professionally, as that that is supposed to help, as it will help you feel better about yourself...at least, that's what I've heard.

TubaBluba wrote:Also i'd just like to know what your all-state audition music in texas is.Brian

2006-2007 TMEA (Texas) All-State Audition Music consists of three etudes and NO scales. This year's etudes are found in the 2nd Blazhevitch book, 70 Studies, vol. 2, and are numbers 45, 51, and 50.

This music is used for the preliminary rounds (district and region level), and also at the next level, Area. Area is the level that determines who places in All-State.

Once a student advances past Area (means they made State), there is one more audition in February to determine placement in the All-State groups. The music changes to usually include at least one of the etudes, as well as band and orchestral excerpts of what the All-State groups will be performing in February.

Once auditions are complete, students choose their group, starting with the top (2 orchestras and 2 bands). The orchestras are usually picked quickly within the first five (one in each), then the rest are distributed amongst the Symphonic and Concert bands.

Some of the things may have changed since I was in HS, but at least this was how it was done when I did it!

bloke wrote:

NO scales.

I guess I should have seen this coming:

1/ Professional auditions usually do not include scales...and today's kids are the same as adults...right?

2/ Since "spelling" is no longer considered a critical nor important part of the study of languages, why should "scales" be considered an important part of the study of music?

And Texas kids have been so good for a very long time, now. They no longer need scales OR sightreading to be included in the audition process. I realize not all states have such awesome players, but in Texas we discovered that we didn't need scales and sightreading some 25+ years ago. Amazing, isn't it?

We do have to play scales, just not at the area and state level.. is it different in other states? why the diss?

I kno all my major scales and about 6 minor ones, i know i am by no means amazing in the grand scheme of things, and i'm still not any where where i need to be if i want to be successful in the professional world... i just dont want people thinking i'm some cocky teenager

passion4tuba wrote:We do have to play scales, just not at the area and state level.. is it different in other states? why the diss?

I kno all my major scales and about 6 minor ones, i know i am by no means amazing in the grand scheme of things, and i'm still not any where where i need to be if i want to be successful in the professional world... i just dont want people thinking i'm some cocky teenager

Are you in High School, or Junior High? I'm from NE, and I knew all 60 by the end of my 8th grade year...

a couple of suggestions that i did'nt see: play through the first few bars of each excercise during the couple of days before the audition for tempo and consistancy, this does not mean don't run them, you should, just in another part of your routine.

also find some people it doesn't really matter who, and play the audition for them. have them pick the exerpts and then play it as you would for the audition. this will help with nerves(generally playing in front of friends is more nerve wracking than some random auditioner). also get the thoughts of the people who listened musician or not, you can never tell who might be listening. in all-state type situations they generally find a person of your instrument to judge. but you can't count on that and certainly in pro auditions you will almost never be playing for a tuba player so getting the interpretations of someone who's not neccesarily familiar with your instrument can be helpfull(be very carefull when taking their suggestions but listen to them none the less)

oh yeah...might be to late for this to be really helpfull at this point but record yourself as often as possible, it's essential to get an idea of whats coming out of the bell and what you hear is never what the audience hears

hope some of that made sense and good luck

tubaguy9 wrote:

passion4tuba wrote:We do have to play scales, just not at the area and state level.. is it different in other states? why the diss?

I kno all my major scales and about 6 minor ones, i know i am by no means amazing in the grand scheme of things, and i'm still not any where where i need to be if i want to be successful in the professional world... i just dont want people thinking i'm some cocky teenager

Are you in High School, or Junior High? I'm from NE, and I knew all 60 by the end of my 8th grade year...

I'm from PA, and didn't even know there were 60 scales! I mean, I guess if you count the Algerian, Byzantine, Balinese, Raga Hanumat Todi, Hungarian Gypsy Persian, Neopolitan minor, Hindustan, Chinese Mongolian, Marva Raga, Japanese Ichikotsucho, (and Taishikicho, Hyojo, Kumoijoshi...), Mohammedan, Jewish Ahaba Rabba, Spanish Gypsy, Enigmatic, Arabian Major, the altered scales the jazzers use, and of course the "church modes"...
OK, in all seriousness, kudos to you Tubaguy9 for knowing your scales. I hated them until I realised how important they really are, now I play them every time I pick up my horn. It's nice to see young musicians growing up with an appreciation of the fundamentals.
Passion4tuba, if you know your major scale in all 12 keys, you know the minors too! I'f you're playing a Bb major scale, for instance, just back up two notes, down to a G, and play from G to G with the same notes as Bb major: that's G minor. They're called relative keys; same notes (same key signature) just a different starting pitch. Of course, that's the natural minor, for the melodic and harmonic minors you need to make the appropriate changes, but it's a start. To find the other relative keys, just start your minor scale on the 6th note of any major scale. Another way of thinking about minors is with Parallel keys (instead of relative keys) which just means you start the scale on the same pitch, but the major and minor scales have different notes in them. Specifically, the minor scale has three lowered notes, the 3rd, 6th, and 7th scale degrees. So a C major with no sharps or flats, becomes a c minor when you add three flats to the key signature.

Forgive me if you already knew the scale stuff, I don't know how much theory they teach in school these days, or if they just drill the notes. To me, it has always helped to see connections, hopefully this will be helpful to someone else in a small way...
Best of luck on the audition!
MF

As an ear player, (it's so hard to get both ears on the tuba at the same time) scale knowledge is all that saves me when playing with guitarists or harmonica players who are too cheap to buy twelve.
Do NOT bring a beer to an audition and you might want to do something about that breath.
P.S. No cussin' either.

we dont even have music theory classes* at my highschool...
i can play all the minor scales, but not all of them by heart, but if one was to say for example "d minor, 1 flat" i could play that since i know how major minor scales operate on a basic level. Also, Bloke I didn't think the comment by Doc was about me personally, just about texas music students in genneral, and since i'm in that category i posed that question.






[size=0]**also, the by the WIB thread, do you mean the question i posed about racism in the music world? The thread took it somewhere else but i was asking a simple question that i had a right to ask, duces [/size]

Mike Finn wrote:

tubaguy9 wrote:

passion4tuba wrote:We do have to play scales, just not at the area and state level.. is it different in other states? why the diss?

I kno all my major scales and about 6 minor ones, i know i am by no means amazing in the grand scheme of things, and i'm still not any where where i need to be if i want to be successful in the professional world... i just dont want people thinking i'm some cocky teenager

Are you in High School, or Junior High? I'm from NE, and I knew all 60 by the end of my 8th grade year...

I'm from PA, and didn't even know there were 60 scales! I mean, I guess if you count the Algerian, Byzantine, Balinese, Raga Hanumat Todi, Hungarian Gypsy Persian, Neopolitan minor, Hindustan, Chinese Mongolian, Marva Raga, Japanese Ichikotsucho, (and Taishikicho, Hyojo, Kumoijoshi...), Mohammedan, Jewish Ahaba Rabba, Spanish Gypsy, Enigmatic, Arabian Major, the altered scales the jazzers use, and of course the "church modes"...
OK, in all seriousness, kudos to you Tubaguy9 for knowing your scales. I hated them until I realised how important they really are, now I play them every time I pick up my horn. It's nice to see young musicians growing up with an appreciation of the fundamentals.
Passion4tuba, if you know your major scale in all 12 keys, you know the minors too! I'f you're playing a Bb major scale, for instance, just back up two notes, down to a G, and play from G to G with the same notes as Bb major: that's G minor. They're called relative keys; same notes (same key signature) just a different starting pitch. Of course, that's the natural minor, for the melodic and harmonic minors you need to make the appropriate changes, but it's a start. To find the other relative keys, just start your minor scale on the 6th note of any major scale. Another way of thinking about minors is with Parallel keys (instead of relative keys) which just means you start the scale on the same pitch, but the major and minor scales have different notes in them. Specifically, the minor scale has three lowered notes, the 3rd, 6th, and 7th scale degrees. So a C major with no sharps or flats, becomes a c minor when you add three flats to the key signature.

Forgive me if you already knew the scale stuff, I don't know how much theory they teach in school these days, or if they just drill the notes. To me, it has always helped to see connections, hopefully this will be helpful to someone else in a small way...
Best of luck on the audition!
MF

Yeah...There's the 15 majors...then 15 Natural minors...then 15 Harmonic Minors...then 15 Melodic minors make 60 scales, if my math is right, 4 types, times 15 scales is 60

Right now, from my Sophmore year, I learned 4 of the blues scales...so that means I know near 64 scales...

If that weren't enough, I'm learning the Ionian, Dorian, Phryggian, Lydian, Mixolydian, Aolean, and well, that's them...so that could say that I know how many...WOW! I know 184 scales...When I learn the rest of the Blues, I'll know 192 scales...Aren't those some numbers?...

Oh...I just noticed...Sorry about seeming like a braggart...

tubaguy9 wrote:...I'm learning the Ionian, Dorian, Phryggian, Lydian, Mixolydian, Aolean, and well, that's them...so that could say that I know how many...WOW! I know 184 scales...When I learn the rest of the Blues, I'll know 192 scales...Aren't those some numbers?...

Don't count those again, they are fancy names for major and minor.

If you really are interested in scales, check out Nicholas Slonimsky's "Thesaurus of Scales and Melodic Patterns."

http://www.amazon.com/Thesaurus-Scales- ... F8&s=books

In this book you will find over 1300 scales!

Slonimsky was an amazing musicologist and scholar. Years ago, he did a regular radio broadcast in the Boston area regarding the week's Boston Symphony Orchestra program. His Russian-accented English was always witty, and sometimes hilarious. He claimed that he had learned English exclusively from the study of Gilbert & Sullivan.

Cheers,
Allen

Doc wrote:

tubaguy9 wrote:
Yeah...There's the 15 majors...then 15 Natural minors...then 15 Harmonic Minors...then 15 Melodic minors make 60 scales, if my math is right, 4 types, times 15 scales is 60

15 majors?

Do we not use the 12 tone system anymore? 3 standard minors for each major? All that = 48? Did I misunderstand what you were saying?

Doc (noting that modes and oddball minors are not designated as "standard" scales, despite being a fan of people learning all they can)

No, really you're right, but it's just sort of fun to say a big 15 rather than 12...

Doc wrote:

tubaguy9 wrote: No, really you're right, but it's just sort of fun to say a big 15 rather than 12...

I hear ya. It's fun to imagine bigger and better.

Doc

See? YOU DO UNDERSTAND!!!

There are three kinds of musicians: those who can count, and those who can't...