LA Philharmonic 2nd Trumpet Audition

Derek Reaban

I think this list is really interesting. If you use an E-flat for the Haydn, and a different D trumpet on the Ravel (not an Eb/D combo), then with a piston Bb or C (for the majority of the excerpts), an A-picc for SG&S in Pictures, a rotary, and a cornet, you could have at least 6 horns on stage!

Wow!

Just out of curiosity, for those of you going, how many trumpets are you taking?

Good luck to everyone who will be auditioning this week and next!

Athos · Posted: Wed Nov 01, 2006 6:44 pm Post subject:

6. But I'm not using the B-flat trumpet.

Derek Reaban · Posted: Thu Nov 02, 2006 12:45 pm Post subject:

Mike,

Play well!
_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

sandytpt · Posted: Thu Nov 02, 2006 1:20 pm Post subject:

Well, if I can figure out how to get them all on the plane with me - 6 horns plus the extra bell & slides for my D/Eb.

I have a Brass Bags quad,and am trying how to fit the cornet, picc and bell into a double case or smaller size bag. (The 'personal item" allowed for carry-on)

Any ideas?

silveryoshii · Posted: Thu Nov 02, 2006 1:47 pm Post subject:

good luck
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pitchlevel · Posted: Thu Nov 02, 2006 2:54 pm Post subject:

sandytpt · Posted: Thu Nov 02, 2006 5:14 pm Post subject:

My Altieri is a single - I can get the pic or the bell in the outside pocket, but can't find a way to get the cornet and either the pic or the bell in the main pocket. Same problem with my Yamaha double case - can't quite get it all in there safely - or at least it doesn't feel safe to me.

I'll keep playing around with what I have. I'm sure there is some way to do it.....

Athos · Posted: Thu Nov 02, 2006 8:39 pm Post subject:

Derek, thanks for the wishes. Seems like a great gig.

Sandy, I'm taking my brass bags 4 and reunion blues triple, using the middle section for my mutes. The triple fits underseat, and the quad goes overhead. Maybe you could get the extra bell into that middle part of a reunion blues, if you've got one available.

sandytpt · Posted: Fri Nov 03, 2006 5:29 am Post subject:

Thanks for the suggestions - I really appreciate the time you took to respond.

I worked out a configuration using my double case - took out the divider and created 2 dividers that are a little more flexible. I'll get the padding worked out a little better, but as long as they don't give me a hassle about the case being too big for a personal item, I think I'm good to go.

It just strikes me as kind of ironic that I have to spend so much time worrying about the airline, rather than about the actual audition!

Good luck to you, too!

jdh · Posted: Fri Nov 03, 2006 9:44 am Post subject:

In terms of the airline thing, I'm pretty sure a musical instrument within the size limitations is concidered a personal item. This means you can take one quad case as a "personal item" and one triple case as your actual carry-on. I have had a little trouble with international flights, but I have always been able to take both cases without extra charge. I have heard this is written into legislation somewhere, but I've never bothered to find it. (although when talking with airlines, I sure sound like I know what I'm talking about) Anyone out there know anything for fact on this issue?

sandytpt · Posted: Fri Nov 03, 2006 11:25 am Post subject:

There are no set size limits for the "personal item". The Carry-On limits are pretty clear (45 linear inches with basic limit of 9x14x22), and the quad fits without any hassle. The guidelines for the personal item are "computer/purse/small backpack", but ultimately it is left up to the airline agents at the gate.

I've had no trouble ever on International flights, but have had hassles when flying domestic out of NYC airports - just depends on who is at the gate and what they had for breakfast that day! I'm sure it will be fine - but it is a hassle I wish I didn't even have to consider!

Athos · Posted: Fri Nov 03, 2006 7:10 pm Post subject:

Good luck to you too, Sandy. I've traveled with this configuration before, and never been hassled. Much different than with my Bach quad, where I got hassled a couple of times because it was 1/4" too big in one direction. Save us from the kings of little hills!

tptmed · Posted: Fri Nov 03, 2006 7:15 pm Post subject:

The AF of M website used to have the document stated musicians are allowed to take their instruments on flights . Check their website; I don't know if that has changed or not.

Ron Burgundy · Heavyweight Member Joined: 05 Jan 2005 Posts: 688

Godspeed Sandy, Godspeed

Stay Classy

Ron Burgundy

sandytpt · Posted: Fri Nov 03, 2006 8:10 pm Post subject:

Thanks all for the encouragement and good wishes.

Ron - I wish I had the time to special order a case; afraid it will just have to wait.

Back to a little practicing now - see you all after next week. Won't be taking the computer on this trip!

Derek Reaban · Posted: Fri Nov 10, 2006 7:41 am Post subject:

MrClean,

How did the audition turn out?
_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

MrClean · Posted: Fri Nov 10, 2006 8:40 am Post subject:

We are bringing in Chris Still to play a trial week with the orchestra. We heard some great playing at the audition, and Chris played beautifully in both his semi final and final rounds.

Jim

Derek Reaban · Posted: Fri Nov 10, 2006 8:45 am Post subject:

Jim,

Thanks for the update. It sounds like you had a lot of really fine candidates to choose from!

Digging into the Historical Rosters folder I found Chris' bio:

_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

Umyoguy · Posted: Sat Nov 11, 2006 12:18 am Post subject:

MrClean · Posted: Sun Nov 12, 2006 11:37 pm Post subject:

In the interest of saving some of you guys the heartache of blowing a bunch of money to come to an audition and getting cut early, here are a few observations while they are still fresh in my mind:

1) Sound is king. Do not try to artificially darken your sound by lipping everything down - you will end up with a dead, flat sound, and you will also end up back at the airport a day early. Many, many candidates went down for this reason. Conversely, do not squeeze up on the notes, either. Tight sounds do not win jobs. Play right down the middle of the horn, where the sound spins. On every note. Including the fast ones.

2) Do not neglect the metronome when you are preparing - I don't care what level player you are - do it. You will be amazed at the tendencies you will notice and (hopefully) correct. This goes for counting your rests, too.

3) Don't assume that because the LA Phil (or any other band) is a "big-time" orchestra, we want to hear everything really loud. There were more 300 lbs ballerinas than I care to think about

. When an excerpt calls for you to really rip it, then yes, by all means show us what you have (with a good sound), but you had better show us the flip side, too. Remember, there may be more than a few viola or bassoon players on that committee, and you can bet they're thinking "do I really want to sit in front of that?

4) Along those lines, if it is marked p or pp we want to hear it softly. Not so softly that you ghost every other note, or to the point it sounds weak or scared, however. Just don't come out and play your Academic Festival at a comfortable mf.

5) Get intimate with your tuner. Yes, it is a tool based on an equal-tempered scale, but it will show you if you are really flat or really sharp.

6) Play with good rhythm. Should be a no-brainer. You'd be surprised at the variations we heard on the second mvt of Dvorak 8, or Siegfried's Funeral March, etc. And the opening fanfare before the Ballerina Dance? Uh, the beat is in eight notes there, so that low C gets four of 'em.

7) Unless you are willing to get a recording and listen to the whole piece, don't waste your money on airfare. It was brutally obvious that some had just listened to the excerpt, or that they had learned it from the guy in the next practice room. Do yourself a favor and go to iTunes and spend a buck on each piece. Do this before you try to learn the piece. If a list says "sight-reading may be required", a good place to look is the dark corners of the pieces that are already on the list...

8.) Pick reasonable tempos - some guys cratered because they tried to play some things too fast. Don't volunteer to show us "what you can't do". If we want to know, we'll ask...

9) Be honest in your preparation. If there are problems, you can bet we'll hear 'em if you can. Fix them instead of pretending they're not there, or hoping we won't "ask for that one".

10) Ask yourself "why is this piece on the list?" Figure out what qualities we are looking for in a particular excerpt, and make sure you demonstrate them. In other words, we want to hear versatility. It should sound like the same person, but a person with a HUGE tool bag. Lyrical pieces like Pines or the Posthorn solo have tremendous potential to show how beautifully you can turn a phrase - don't leave that opportunity on the table.

11) Don't be afraid to shine. The committee is looking for someone to say "I'm the one". That means, in addition to doing everything I just said, you need to make all of that sound like it is second nature to you, freeing up your conscious energy to concentrate on actually making music. I want to hear patience. I want to hear someone who puts the proper space between the 16th notes on Siegfried to give the impression of weight - same goes for the aforementioned Dvorak 8th. I want to hear someone who plays with purpose, direction and intensity. Play these excerpts like they are actual pieces of music, which they are. You need to know the context in order to do that.

Chris played great. He did not play the most accurate audition (darn close), but he consistently played with refinement, a great, centered sound, and attention to musical nuance and detail. He did not panic when a note went by the wayside. He showed poise and maturity, which is very reassuring to someone who might be sitting next to him for the next 20 years. He showed a huge range of musical expression, and was not afraid to cut loose when appropriate. His technique was clean and reliable - it did not fail him under pressure. You could tell he took the rotary and cornet seriously, too.

I hope this doesn't come off sounding too harsh, but it was sometimes frustrating to hear players that you knew were capable, but just did not prepare properly or take it seriously enough. I know in some cases, audition jitters just get the best of us (believe me when I say I've played some really bad ones), but you don't want to make unnecessary mistakes.

Now get practicing for the next one!

J