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Doc wrote:

kontrabass wrote:Interesting to see 500 views and no replies. Maybe some of you felt a little stab of joy and excitement about an opportunity opening up and then were suddenly embarrassed... If so that's what I was going for, sorry, I'm being a mischievous little #$&!.

I'm also trying to make a point, that with the current orchestral market as it is, and so many university-trained musicians trained in one and only one skill for which there is microscopic demand in the real world, we have a situation where hundreds of talented players are spending their youth simply waiting, just hopping from school to school or temp jobs until that prime gig "opens up", like vultures circling, waiting for some predator on the ground to leave them a kill.

I was a vulture for a long time. Then a working tuba player in my hometown died unexpectedly, and I had to acknowledge that I was, just a little bit, excited by the prospect of auditioning for his gig and moving up one step in the local pecking order. That feeling was unsettling, and prompted some intense self-examination.

I think it's safe to say that most people do not take pleasure in or wish for someone's demise. No worries there. The truth of the matter is that death is a fact of life, and when someone dies, there is a job left behind that will need a replacement, whether it is a tuba player or a plumber. There's no shame in reverently appreciating the opportunity. If you wished someone dead so you could have that job, well... that would require introspection and maybe a trip to the head doctor and clergyman.

You are correct in your assessment of the orchestral job situation. This shouldn't be news to anyone, but you cannot convince many of the younger players of this in a way that causes them to broaden their skills. I understand the desire to want to be in an orchestra. I get it. Many will get quintet experience along the way, but very few players make their living as a member of a quintet. Also, there still exists a stereotype of "jazz" musicians and music at universities. You're either a "legit" player or a "jazzer." In reality, there is NO reason that a tuba player can't cross train (on tuba or bass). Let's face it - how many of those jazzers are going to make a living in top notch bands playing straight-ahead jazz? Not many, however, the opportunities to play, learn, get experience, and make money are more numerous outside of "legit" music, and if you have the chops and a little feel, you can get work. Sure, it may depend on the local market where you live, but you can work if you open your mind and your focus. I'm thankful I started as a young kid playing polka and dixieland. That experience has served me well, not to mention learning to play bass. I've made significant money playing upright bass and electric bass. Playing bass and singing (lead and harmony parts) is a real feather in one's cap. All my tubas paid for themselves many times over plus some nice dough leftover, not from orchestral/legit type music, but from just about everything else.

Non-orchestral music not your thing? No problem. You just keep on focusing on that orchestra job to the exclusion of all else, and let us know how that works out for you. If you are one of a small handful of players that are likely to land a job like that, you still have to be your best on audition day and hope that "your best" is the best of the day and then be the kind of "best" that they are looking for. Otherwise, keep practicing, and the rest of us will keep working. And I won't feel guilty that I'm glad you're practicing. And if you happen to get that orchestra job, I'll be happy for you. Thankfully, you won't be dead, but either way you won't be interfering with my ability to move up in the local job pool.

Outside of the orchestral world, versatility = hireability.

bloke wrote:Let me hear your recordings of Meisteringer on

- F tuba
- CC tuba
- 6/4 CC tuba
- sousaphone

bloke wrote:I posted my last-ever post on tubenet yesterday.