Is there any definitive source for corrections on the Vaughan-Williams?
If so, what does one do in an audition situatiuon, when the VW is called for? Play the articulations/notes as they appear in the published version, by Oxford (assuming that there are no tuba players, who would know that there are mistakes, on the audition committee)? What is the protocol?
Definitive Corrections to the Vaughan-Williams?
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Z-Tuba Dude
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jmerring
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VW Corrections
I would think that at an audition, you would provide a copy of your version of the VW to the committee. Play it as written. If there is a tubist on the committee (why would there not?), he or she would view your performance as relates to the written part. My .02
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Gorilla Tuba
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At a recent audition I took, the RVW was supplied to me in the audition packet. The part was a clean copy with none of the usual corrections/ edits. So I prepared it as written as well as with many of the customary changes. When it came time to play, I asked the committee if they want to hear it played with the edits or as written. They answered with a resounding, "Play the ink."
Although tubists "in the know" may expect to hear it played like Fletcher or Jacobs, most committees are not familiar with the performance practice of this piece.
Please keep in mind, this audition was not for New York or any other "big" time gig, so the panel was less educated in tuba rep. None the less, it can't hurt to be flexible in how you prepare music.
Although tubists "in the know" may expect to hear it played like Fletcher or Jacobs, most committees are not familiar with the performance practice of this piece.
Please keep in mind, this audition was not for New York or any other "big" time gig, so the panel was less educated in tuba rep. None the less, it can't hurt to be flexible in how you prepare music.
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leehipp
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Speaking only from my experience sitting on audition committees (mainly brass) I would offer this thought...
The solo is your opportunity to show the committee what you can do in a more personal way as a musician. Most members of an audition committee will be listening with more open ears and minds during the solo phase. I rarely look at the music while an auditionee is performing the solo simply because I just want to focus on their performance and sound.
My suggestion would be to come up with your version of whatever piece is selected "and sell the hell out of it" to the committee. Most musicians on an audition committee are going to appreciate some originality (to a point) from an auditionee during the solo performance.
This advice does NOT apply to the performance of the excerpts!
Also, if in doubt - PLAY THE INK and if you ask an audition committee what to do they will always respond with PLAY THE INK (even if I am sitting on it) so don't ask just play.
The solo is your opportunity to show the committee what you can do in a more personal way as a musician. Most members of an audition committee will be listening with more open ears and minds during the solo phase. I rarely look at the music while an auditionee is performing the solo simply because I just want to focus on their performance and sound.
My suggestion would be to come up with your version of whatever piece is selected "and sell the hell out of it" to the committee. Most musicians on an audition committee are going to appreciate some originality (to a point) from an auditionee during the solo performance.
This advice does NOT apply to the performance of the excerpts!
Also, if in doubt - PLAY THE INK and if you ask an audition committee what to do they will always respond with PLAY THE INK (even if I am sitting on it) so don't ask just play.