The best piece of advice that i can give to any young auditioner is that your outcome is almost solely based on how much time you sound thoughtfully (that’s the key word!) preparing your materials. When a student doesn’t play well in an audition, they may mistakenly assume that they are not a good auditioned or that some outside force intervened to sabotage their efforts, when the reality is that they simply didn’t put in the time, or they put in the wrong kind of time. To me, the most frustrating kind of student is one who doesn’t prepare, doesn’t play well as a result, then offers up a litany of excuses for themselves rather than taking responsibility for their preparation and musical growth.

As a teacher, I can offer advice on how to prepare, take students through the process of effective practicing, show them how to be analytical, and demonstrate quality playing of specific techniques and repertoire. I cannot, however, magically appear and play all the notes for them. It’s on them to do that, and while I will always try my best to guide students through this process, it’s ultimately in their hands.

Here, then, are a few assorted nuggets of advice from an old guy on how to effectively prepare for an audition:

• Practice early and often – With rare exceptions, you cannot start preparing audition music too soon. People worry about burnout on a specific piece, and this may occur from time to time, but 95% of the time a student has under practiced rather than over practiced.
• Listen to recordings of what you are playing – A bass teacher once told me that listening to one or two recordings of a piece was just screwing around, but three or more recordings constituted research. Whether or not this is actually true, I do believe that the more interpretations you can find and absorb, the better. If you don’t like a recording, then you at least know what you don’t want to do, but don’t be too quick to write off a particular performer or performance. As students develop the skill of being able to discriminate quality, they frequently become overly quick to judge. Listen with open ears to everything you hear–you’ll be surprised what you’ll learn.
• Sectionalize your music and write down a plan – I always smile when I see a student come into a lesson with a practice log and a written practice plan–these people usually end up doing very well at whatever it is that they’re trying to prepare. It’s amazing to me just how powerful a written plan really is to the practice process, and I’m amazed that more people don’t do it. Perhaps one in ten students to whom I suggest that they do this actually does it.
• Get a three-ring binder and some protective sheet covers – This may seem like a strange suggestion, but vie found that the best way to prepare for an audition is to photocopy all the materials and put them in a three-ring binder using plastic sheet covers. You can also use this system to hold your practice journal sheets, mock audition comment sheets, info from the college or group for which you are auditioning, and even selected inspirational articles and quotes (if that floats your boat).
• Create technique exercises out of the repertoire… and write them down! – Again, setting pen to paper and getting this kind of material out of your head and into your practice binder makes a massive difference.
• Practice performing the music – Make sure that you practice playing the entire repertoire list for your audition in front of other people. Both musicians and non-musicians (i.e. your mom) will help. Do this frequently, but be sure to take note of what doesn’t go well and focus on that in your practice sessions.

Use a variety of practice techniques – Explaining these is much easier in a lesson setting, and my shorthand may not make sense to everybody, but I encourage students to use methods like acceleration, non-vibrato equal note practice, vibrato equal note practice, rhythmic patterns, shift isolation, building from the back, adding a note, isolating problem moments and fanning out, and sets/reps on isolated small sections.

Any additional suggestions for auditioning high schoolers? Feel free to leave them in the comments.

TipsForSuccessfulAuditions.pdf

Robert gives his fingerings for this tricky solo, as well as describing the context in which it occurs. Surely this will become part of the double bass audition repertoire in years to come: 

http://www.robertoppelt.com/page19.html

Click to Watch

Charlie Geyer, Professor of Trumpet at Northwestern University, conducts MYA Brass Class (May 1, 2010).

more MYA videos available at WMYA.FM

Its always a hoot for me to show colleagues the sort of email I get on a daily basis. I mean, we’re talking specific stuff here, from my thoughts on the reaction of Carlsson bass rosin on black hair in an arid climate in combination with Bel Canto strings, and how that might differ from Pop’s rosin and Helicore strings in 50% humidity, only this time with salt and pepper hair and a German bow…

Whew!

I kid you not–this is no exaggeration.

And I don’t mind at all. In fact, it’s kind of fun to have become the “Ann Landers” of all things bass. Not that I ever in million years planned on this as a role for me!

Every year, as May approaches and final dates for deciding on colleges loom near, I get emails from bassists (often dozens of emails) asking my advice on which school they should pick. It never seems like there’s a clear best choice in these emails (which is probably why they’re sending them!), so I find myself pondering which is a better choice: a large university with good academics and decent music that gave a small scholarship, a top conservatory that gave no scholarship, or the small liberal arts college that gave a big scholarship but is relatively unknown as a music school.

These are tough decisions, and though I realize that I am but one of many people offering advice to these students, I try to be very reasoned, serious, and practical about offering such advice.

I remember when one of my first high school students asked me, during a lessons, what the best schools are for bass. I causally rattled off eight or nine schools to him. He then proceeded to apply to these exact schools! I don’t know if I was expecting anything different, really, but it made me quite aware of the power and responsibility inherent in dispensing such advice.

So, every March and April I find myself looking at these lists of schools and scholarship awards, trying to figure out the best option without really knowing the individuals sending me these lists. I’m sure that my advice would change if I met them, heard them play, and knew how they operated and what sort of teachings styles and environments would best fit their personalities and musical temperaments.

The biggest question always seems to be well-regarded program that is really expensive versus a cheaper but less well-regarded (or less well-known, at least) program. If only there were an easy answer! I look at the options, sometimes knowing the programs well and sometimes not at all, doing a bit of light Google research to learn more about the programs with which I’m less familiar, and then just going with my gut. Sometimes I recommend the expensive but famous program. Sometimes I tell them to go for the cheaper option. I’m sure that my advice would change if I met them, so I always try to make it clear that my advice is really generic and should be only one factor (and a small one, please!) in their decision. With my own students, I take a much more active role in the decision-making process (though the decision is, of course, always theirs to make), but I try simply offer what I can to these students that I do not personally know and hope that it helps to inform them a little better about the pluses and minuses of their potential schools.

Though I’ve written on a ton of bass topics, I always encourage people to explore as many options as possible and not take anything I say or write as unshakable truth. After all, what makes me an expert? I have experience (so do a lot of other people) and I have a rather interesting and unique perspective as a result of being in contact with SOS many bassists as a result of this blog, but ultimately I’m just some guy drinking a cup of coffee in Chicago and pounding on a laptop (or an iPad!). Just because I say something or write something does not make it so!

It has never been my intent to dishearten with my writings on the subject of music school and music performance as a profession–only to promote awareness of the realities of this business. Though I’ve written many articles on the dangers of pursuing this profession (heck, I even wrote a book about the topic a few years ago!), I spend a substantial portion of my time guiding young people toward this very career in my teaching. I resolve this seemingly contradictory stance in the following way (in my mind, at least–perhaps I’m just deluding myself):

If you accept that the odds are what they are and you’re not fooling yourself into thinking that this path will be easy, and if you accept that opportunities may come sporadically and in fits and starts, and if you really understand the sacrifices that frequently go hand-in-hand with a career in music performance, then I will do my utmost to help you get from where you are to where you’re going. I just want to make you aware, not to discourage.

Martin Atkins’ 7-11 panel

Monday May 10, 2010 Claudia Cassidy Theater, Chicago Cultural Center, 78 E. Washington Blvd.

more info: chicago-music.org

5:30 – 6:00 pm Networking session

6:00 – 7:30 pm Panel program

Presented by the Chicago Music Commission and Martin Atkins “Tour Smart, it goes something like this. Panelists get only 11 minutes (yes, they are timed) to convey 7 critical points to the audience. We don’t dictate the content of the 11 minutes, nor do we provide guidance on topic choices. It’s up the panelist to distill down all their music industry experience into 7 bullet points that can be explained in 11 minutes.

Moderator:

Martin Atkins: After playing drums in a variety of English bands, Martin auditioned for and

subsequently joined Johnny Rotten’s Public Image Limited in 1979, staying until 1985. Over the next five years, he played with and managed Killing Joke and toured with Ministry. In 1990, while on tour with Ministry, he formed his own band, Pigface. He also worked with Nine Inch Nails, performing on the Grammy award winning

“Wish” and appearing in the “Head like a Hole” video.

Martin began working on the business side of music in 1988 when he formed

Invisible Records and then Mattress Factory Studios in 1996. Over two decades Invisible has released over 350 albums and has had placements spanning from the original Miami Vice to Showtime’s Queer as Folk to Robert Altman’s The

Company.

From 2003 ? 2009, Martin taught “The Business of Touring” at Columbia College

in Chicago. Martin wrote his book Tour:Smart in 2007 and has since spoken

around the world at the Midi Institute in China, Drumtech in London, NAMM,

SXSW, and By:Larm in Oslo, and many more.

Panelists:

• Julie Brewer Internet travel agent

• Angie Mead Marketing director Uncommon Ground

• Joanna Quargnali-Linsley founder of artist development group Misery Loves Co.

• Leah Jones Natiiv Arts & Media

• Jaime Black Producer of Q101 Local 101

• Tom Fort Musician

• Lisa Malina Certified Public Accountant

More to come!!

Musicians at Work Forums address current issues of interest and concern for Chicago’s growing community of musicians working in all genres. Inspired by the popular Artists at Work Forums, this series invites industry professionals and musicians to discuss the current state of making a living through music in Chicago. For all Forums, venues, acts and music professionals are welcome to bring fliers, business cards and marketing materials for the audience. Come 30 minutes before the panel starts and network with your peers..

Musicians at Work Forums are sponsored by:

Columbia College Chicago

Chicago Federation of Musicians

Harold Washington College

—DANIEL BURNHAM, CHICAGO ARCHITECT. (1846-1912)

• Enhance practice and performance skills
• Expand musical knowledge
• Overcome performance anxiety
• Foster creativity
• Collaborate amicably
• Build music careers
• Boost health and prevent music-related injuries
• Become productive artists

This book looks like a nice complement to David Cutler’s The Savvy Musician, a new book designed to help musicians build entrepreneurial skills that we featured in a recent podcast. We also chatted recently about similar topics with James Knabe, a Chicago-area musician who specializes in developing websites for musicians.

I’ve written many articles about this topic in the past, so you can go spelunking through the blog article archives if you’d like a more in-depth look at this topic, but I think that this list should prove to be, if nothing else, food for thought:

Top 20 Ranked U.S. Schools for Double Bass Study – 2009
doublebassblog.org reader poll

1. The Curtis Institute
2. Rice University
3. Indiana University
4. University of Washington
5. Boston University
6. The Juilliard School
7. Cincinnati College-Conservatory
8. The Colburn School
9. Michigan State University
10. Peabody Conservatory
11. New England Conservatory
12. Carnegie Mellon University
13. Manhattan School of Music
14. Boston Conservatory
15. Eastman School of Music
16. University of Iowa
17. Arizona State University
18. University of Southern California
19. The New School
20. University of North Texas

Download this list:
top ranked double bass schools 2009.pdf

I’ll expand this survey with more schools and do it again in 2010, so stay tuned!

Any thoughts on great schools not on this list? Feel free to leave a comment below.

This new book is filled with excellent and informative about musical entrepreneurship, product development, branding, marketing, networking, and much more. I hope that you enjoy this interview and check out David’s book, and be sure to also visit his blog, which is a great supplement to the book and quite entertaining.