The Sad Reality of Auditions

Chuck(G) · Post by **Chuck(G)** » Thu Mar 02, 2006 6:41 pm

Joe, you're never gonna get elected talking that way!

Joe Baker · Post by **Joe Baker** » Thu Mar 02, 2006 7:22 pm

Chuck(G) wrote:Joe, you're never gonna get elected talking that way!

Actually, Chuck, just between you and me -- I don't WANT to get elected. I just want to make a killing selling T-Shirts and bumper stickers:

Anybody dopey enough to VOTE for me ought to be an easy mark!

_________________________________
Joe Baker, who hopes everyone else stopped reading where it said "just between you and me".

LoyalTubist · Post by **LoyalTubist** » Thu Mar 02, 2006 10:30 pm

One of those two groups with links listed a bass trombone player but no tuba player.

tubeast · Post by **tubeast** » Fri Mar 03, 2006 2:43 am

One of those two groups with links listed a bass trombone player but no tuba player...

...as stated in the sentence before the links. But letÂ´s not be too picky here...
The idea was : there ARE paying gigs out there for the creative musician, just as TÂ´tooter1940 suggested. And it may be a great idea to come up with something unusual (preferrably including a tongue planted firmly in oneÂ´s cheek)that might appear strange to purists.
OTOH: I watched a recorder (errm, the flute thingy) player in ragged clothing playing in the streets, accompanied by a (cassette) recorder, a hat in front of him on the pavement. He performed STUNNINGLY technical stuff from the baroque era.

probably a professionally trained musician. It was sad to see he received no more change than the plain olÂ´ beggar on the next block.

tubajoe · Post by **tubajoe** » Fri Mar 03, 2006 4:11 am

We can all learn something from Carol. The thing is that she got turned down to audition... then she FOUGHT and proved that she COULD NOT BE DENIED.

Carol's (and Dave's!) recent success in Philly should be seen by US ALL as a much needed fresh breath of optimism.

tubaman5150 · Post by **tubaman5150** » Fri Mar 03, 2006 10:59 am

Actually these days, I've been placing much less emphasis on playing in orchestras. I still do the local per service rounds, but I really don't want to actively pursue a major orchestra. Given the politics about reputation and pedigree that lately have found their way into audition process, it not worth the headache.
IMHO...
The military bands offer the best and most reliable playing opportunities and benifits for today's tuba/euph players.
Until I can get one of those gigs, I'll stick with my college teaching position and to continue to play for whoever will have me.

windshieldbug · Post by **windshieldbug** » Fri Mar 03, 2006 5:15 pm

The more things change...

The more they stay the same...

tubatooter1940 · Post by **tubatooter1940** » Fri Mar 03, 2006 8:03 pm

Ben,
Changes in band personel are usually good for the group as a whole.
One player goes but the new guy is gonna have new, fresh material that can revitalize the remaining members.
If time comes for me to leave a band, I offer two weeks notice or more if needed. Musicians don't fear unemployment as much as other trades because we do enough to be hired for even a one nighter or a few months on the beach at somebody's bar. Booking is an ongoing chore that we learn to chip away at. (dangling participle)
As well stated by Johnathantuba and others, You don't have to play full time to be a professional. There is no shame in doing other honest work for wages. Alls you have to do to be a pro is sound like one and rehearse up a good enough show to be well worth the money.

ken k · Post by **ken k** » Fri Mar 03, 2006 9:16 pm

This is sort of one reason why I question so many of the college programs teaching orchestral excerpts and the Hindemith Sonata and the VW concerto, etc. Granted they are great pieces but when is a tuba player actually going to be able to perform them, and besides the other tuba players out there that may be in the audience, who else really cares?

I know a young student/friend who is a freshman music ed major in college now and his well-known teacher at a well known college is having him sell the BBb and get a CC and learn all the usual stuff and I just have to wonder why. Is he preparing for grad school? And what is that for? Wouldn't it be better to learn major quintet literature or learn how to lay down a bass line in a dixie group? At least these are areas where most tuba players are going to make most of their money and have to know this stuff.
I know the pieces I mentioned earlier are the major works for our art form and everyone should be familiar with them to a degree, and you can't move forward without knowing where you've been etc. But there also should be a course in real world 101.

ken k