April fools (was ...RETIRING??)

[kontrabass]

Nope!
April fools
no, the sad reality remains, there are still no jobs out there!

[kontrabass]

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.

[Toobist]

Great post Rob,

You may not know it but you're a source of inspiration for myself and, I'll bet, lots of us (not just in Toronto). We see what cool music you're doing and the fun you're having and branch out from our dead horse beating of Meistersinger.

Personally, and I'm glad to have this chance to say it, you inspired me to venture out of my comfort zone. I've been playing more and more rock/funk gigs here in town (Mod Club the first Saturday of each month even!) and I've even given an open mic night a go (with more in the near future!).

You're so right about our colleague's passing a few years ago. I talked about the general attitude at the time amongst us and I certainly felt a pang of guilt being pleased to have a local audition to play. That day wasn't a fun one in my memory and I'm glad to have other ventures to keep me playing (and fed).

Thank you Rob.

Al

[bort]

I'll bite... you got me.

[hup_d_dup]

There is a passage in the book I, Claudius by Robert Graves, wherein the Emperor Claudius, fatigued by the daily demands of government and eager to escape the trappings of the throne, disguises himself in plebeian garments and wanders unaccompanied through Rome. He stops at a square where a lively discussion is being held by a group of citizens: the topic is the Emporer. An old battle-hardened soldier concedes, yes, it's true that Claudius has been a clever general, but the problem is that we have had so few casualties that those of us who remain alive have a very difficult time advancing through the ranks. Much better opportunities in the old days.

Hup

[ckalaher1]

This thread is self indulgent at best.

I'm thinking the 500 people who viewed it and didn't post a reply decided not to do so because the joke wasn't very funny in the first place. Any specific "meaning" given to the topic after the fact is, at best, high handed.

I don't wish any local pro badluck or ill health, even if that would enable those of us who are underemployed a chance to take their jobs. I'm not good enough for that anyway. If my local pro were sick or unable to play, I'd be sad because he's a nice guy and I wouldn't be able to hear him play anymore. While I can only speak for myself, my guess is that most people don't wish ill health, or get excited over the misfortune of other players, just because it would allow them a chance at a job that they aren't going to win.

And I ran Meistersinger today. Screwed up the trill....again.

[graybach]

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.

+1...In his interview (reprinted from the Latvian Journal and entitled "Problems in Music Pedogogy" in the ITEA Journal (Spring 2011), Winston Morris stated the following when asked how many different genres he worked in with his students and how comfortable were they switching- "I can't speak for other instruments, but the 21st century tubist must be versatile and competent in every area of musical expression if they expect to survive in a professional environment. The aspiring orchestral tubist in the US who wants to spend all their time perfecting orchestral excerpts needs to understand that they have better odds of becoming governor of a state than winning a position in an orchestra that will provide their sole means of support. To the extent possible, contemporary tubists need the broadest possible background and training to make them 'marketable.'"

[Chuck Jackson]

[MartyNeilan]

Let me hear your recordings of Meisteringer on

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

What, no bass trumpet or cimbasso requirements?

[Chuck Jackson]

I posted my last-ever post on tubenet yesterday.

Yeah, seems to be alot of that going around.

Chuck" "Jackson