TubeNet

When time is getting close, don't OVER DO IT.


That's the best advice I can give. Personally, this is how I look at it.... "It took you a long time to become the musician you are today, don't try to completely change that in a few weeks."

Try to keep pretty close to your normal playing habits, and focus on refining what you have. Your audition committee will appreciate a refined, more simplistic performance, as compared to a "crunched" performance that is hard to do much with musically.


As far as sight reading goes, sit down in your band library and just start pulling stuff and playing it from the top. Sight reading is a process and experience. You probably already know the process, you just need to see as much new material as possible. Another good idea would be to have a band director or someone else that you don't like to play in front of pick and proctor some sight reading exercises for you.


Good luck!

tubop wrote:I've been playing Tuba again for 2 weeks. It's been going very well

Not to soapbox too much here, but why were you not playing before this? Illness maybe?

If you guys have anything useful to send or suggest, I would appreciate it!

Very Nervous Tubist
Chris Cherry

Pile on the hours.

Spread the hours out over 4-5 practice sessions each day.

Never go more than 12 hours between practice sessions.

Once you know what you are going to play, spend at least 15 minutes each day on EVERY excerpt or page of a solo.

Try to keep up that pace for 2-3 years then enjoy your new job you will win.

ditto to most of the above. I actually did play carnival of venice for a college audition, didn't get in, then reauditioned on a different piece (I don't even remember....) and got in. I can guarantee COV was technically MUCH harder, but what you want to show is your wide range of skills, that you can be techincal, musical, beautiful, etc.

cktuba wrote:Your audition piece does not need to be a technical showpiece. The secret is ...play in tune, on time, with a beautiful sound and add the icing on the cake with musicality.

I think any audition committee would prefer to hear an excellent and musical performance of an easier piece, as opposed to a less polished performance of a technical showpiece

What a school audition committee is looking for in ANY entrance audition is SOMEONE THAT CAN BE TAUGHT WHAT THEY HAVE TO TEACH, not someone that can "try" to impress them. Therefore, unless you're going to a school whose specialty is teaching people to play the Carnival of Venice even faster (and that's your mistake, not theirs), they EXPECT to teach you the mechanics. What they're looking for are signs of musicialship, a good ear, and a flair for interpretation.

Remember, after years of doing this, they've seen it all. What will impress them IS A GOOD, MUSICAL PERFORMANCE, not flash. Play within your capabilities. Stretch, but know your limits for a good performance. That's what they will want as a graduate of their school. Someone who can perform consistantly well, not someone who always overreaches.

tubop wrote:.

I need to polish Intervals, Upper Register, and General Sight Reading especially accidentals (transitioning back from treble clef)

Might I suggest Rochuts at the regular octave? If you don't have it or can't acquire it fast, try to find a Bordogni.

tubop wrote: Any comments are greatly appreciated.

Holy smokes. You are way ahead of the game with that routine. Just pile on the hours, take lessons from someone who does what you want to do for a living, and catch live music concerts whenever possible.

The hardest part for most is keeping up the pace not just 3 weeks before an audition, but 3 years before an audition. This means figuring out the true reasons why you play the tuba.

If you play just to win an audition, then a lot of frustration can follow. Loss of motivation is right behind that.

If you play honestly and truly because of a love of the music itself irregardless of whether or not you reap any rewards or kudos then you will be more likely to carry through. Find happiness and purpose which reinforces your development instead of purpose which can instead lead to doubt and frustration.

For me personally, I find happiness and purpose in performing when I don't allow outside demands to dictate my product. Things like auditions, recitals, juries, etc are sidenotes instead of the whole story.

Fall in love with music again.

tubop wrote:I've taken what you said to heart and I'll try to follow through on that. I still have so much to learn!

You take that attitude into the audition, and my bet is that you'll be warmly accepted if you play Come To Jesus in whole notes. Especially considering your resume.

I suspect that even jaded professors crave students who 1. know why they are there, and 2. know how being there can help them achieve their goals. Most students don't have a clue of those things. You'll be a grown-up among children.

Don't overtrain. As soon as your embouchure is too tired and you start resorting to mouthpiece pressure, take a break and let your embouchure recover. (I've heard the same advice from endurance athletes--there's little training benefit to be gained from a death march.) That's about the only tuba-related advice I can offer, and I have zero expectation that you didn't already know it.

Rick "impressed" Denney