Monday I am auditioning for the McCrory scholarship. It is a scholarship that pays for summer camps around the country. I will be playing the first movement of the Dragonetti concerto. It also is a interview. I am up against 6 violins, 2 violas, a cello, and a bass ( I got him). I was wondering if some of you guys could ask some questions that could be asked to me in this interview/ audition.

Ok dude, I was actually asked this by a group of 6th graders.
It really threw me....

"what does the bass mean to you, or rather ,why do you play the bass? and not some other instrument "


G

I am up against 6 violins, 2 violas, a cello, and a bass ( I got him).
What do you mean you "got" him?

The judges are going to know you've only been playing the Dragonetti for 5 days. And, they won't be impressed. Play something more melodic, and show your musical and phrasing ability - not just your technical ability. In the interview don't act like "you got" anybody.

That is a good question. I first started playing bass when I was in 6th grade. I chose it mainly because of it's power and grace. I believe it has more capability than any other instrament out. It's versitility is unmatched and sound un challenged.


Ok was that a good reply to the question? If not please help me to form a better one. Keep the questions comming. As far as the "I got him" part, I was just saying that he will never beet me. Not that he is bad or anything. And I honestly don't have alot of solo's besides jazz stuff. I could play a jazz solo but they will only pay for a jazz camp like berklee. I don't have alot to play right now.

P.S. I am typing this in advisory at school. So, if there are miss spelled words I will corect it when I get home.

YOU are a person they would be happy to be associated with. Just be yourself, man. Forget the script. The scholarship is great and we all hope you get it, but ultimately it will be just as valuable for you to go through the interview/audition process.

YOU are a person they would be happy to be associated with. Just be yourself, man. Forget the script. The scholarship is great and we all hope you get it, but ultimately it will be just as valuable for you to go through the interview/audition process.
I am not necessarily going for a script. I am just asking for sample questions that mite be asked. I want to answer them as honestly as I can. I just want to get feedback on how I answer so I can take constructive criticism so I can form a better type of response if a similar question is asked. Thanks for your input.

I've got one: Why do you think it's okay to bring in a piece you've only been playing for two weeks?

I've got one: Why do you think it's okay to bring in a piece you've only been playing for two weeks?
Dude, they aren't going to know that I only had it for a little over a week. Besides, I am only going to have to play exerts of it because they arn't going to listen to the whole thing. I am going to choose the most melodic parts and a few of the realy high ones (the last 15 measures and the prob 64-78). It is more about the interview.

Dude, they aren't going to know that I only had it for a little over a week. Besides, I am only going to have to play exerts of it because they arn't going to listen to the whole thing. I am going to choose the most melodic parts and a few of the realy high ones (the last 15 measures and the prob 64-78). It is more about the interview.

Do you know for a fact that they aren't going to make you play an entire movement? I wouldn't go cutting and pasting unless I knew for absolute certain that the audition would be conducted in this manner. Also, in my personal experience, your playing is held in much higher importance than your interview in such a setting. When it comes right down to it, it's the playing that matters most when it comes down to scholarship $$; am I wrong? Just a little friendly advice, take it or leave it. ;)

How do you know that they only want excerpts of your solo? If the requirement states "solo of applicant's choice," then you better have the whole thing prepared. Something I think a lot of us have learned the hard way is that it's NEVER a good idea to assume what an audition committee will want to hear. For example, they ask for a concerto, you prepare the whole damn thing, not to what you think they'll stop you at. Or if they say they want excerpts from Mozart 35 and you DON'T prepare anything past letter A in the last movement, or they ask for Koussevitzky and you only learn the first two pages. But you can learn this the hard way, because sight reading passages that should have prepared is ALWAYS fun in an audition. Thats how all the pros win ;)
and they will know that you've just started working on a piece, especially if you're 16 and playing Dragonetti for two weeks.

Wow, I wouldn't even let Dragonetti float into my mind for an audition of I've only been playing it for two weeks. For that matter, I wouldn't do anything short of the Elephant if I hadn't gained an intimate knowledge of the piece first. And even The Elephant has that B section ;)

Or if they say they want excerpts from Mozart 35 and you DON'T prepare anything past letter A in the last movement, or they ask for Koussevitzky and you only learn the first two pages.

Been there, done that.. :D

I was already told exactly what was expected of me to play and how much the interview is weighed. I am prepared to play the whole first movement of the Dragonetti if they change their mind for some odd reason. Dragonetti isn't that overall challenging besides the fact that I am not used to playing triplets past the finger board. It didn't take to long for me to be able to play it. I have learned that it is more about telling them why you need the scholarship and why you should go to a music camp. I started this thread to see if I can get some sample Q and A. If you guys would stick to the topic that would be great.

If you guys would stick to the topic that would be great.

Hey man, we're just trying to offer some useful advice that can help you beyond just simply tossing random questions at you. I'm sorry if you disagree, but I believe that the things being said here are even more valuable than what could be yielded in the way of your original request for Q&A.

Anyway, expect them to ask you what things set you apart from everyone else, not just in the way of talent. Talk about your real drive and motivation and be completely honest with anything they may ask.

I am not necessarily going for a script. I am just asking for sample questions that mite be asked. I want to answer them as honestly as I can. I just want to get feedback on how I answer so I can take constructive criticism so I can form a better type of response if a similar question is asked. Thanks for your input.

Read Sam's post again. I think he was trying to offer some positive encouragement. You know, like BE YOURSELF. Don't try to fake your way through the interview by telling them what you think they want to hear. The question about why you play the bass is a good one and you'd be wise to think about that a lot before you go in. But don't try to talk over your head. If you tell them that you are eager to learn more about the bass, which I think we can all agree you are, that'd be a good thing as well.

Remember: "If you fake the funk, your nose will grow."

That is a good question. I first started playing bass when I was in 6th grade. I chose it mainly because of it's power and grace. I believe it has more capability than any other instrament out. It's versitility is unmatched and sound un challenged.


Ok was that a good reply to the question?

I got no experience of audition panel questions. I know interviews though and no, that is not a good answer. Two things could happen - 1) you get an awkward supplementary or 2) you just get marked down for not having considered anything. Why? Becaue you haven't expalined anything.

Consider:

I chose it mainly (this means you had other considerations - make sure you know what they are) because of its power (compared to what - a trumpet? you're kidding me - other strings - well maybe) and grace (what is grace? delicacy? how can you say a bass is more graceful than the other strings? If you believe it find a way to say it although when you do say why it is so compared to others). I believe it has more capability than any other instrument out (objectively this is untrue except you say you believe it - not good enough - why do you belive it? I would take the line if I was going down this path that for me it was most versatile becuase it allows me to play more variety of situations but be wary - there are rock violins, folk violins, jazz violins - why is bass special?) Its versitility is unmatched (now this is trash - its versitilty is exceeded by alsorts - think of a reason - as I said, you will either be marked down or asked why - they can't ask why about every statement you've made here - there isn't time - you have to save them the bother by answering the hidden questions behind your statement - you gotta justify yourself) and sound unchallenged (I don't know about viola concertos - I know there are a few - but if the bass is as good as you say where is the solo reportoire? it isn't there. This statement does not stand on its own. What are your reasons? The violinists will be laughing). And then there is the 'so what' angle to what you say - it doesn't matter - its a nice statement and even if you do justify it it doesn't say why you should get a scholarship.

Look at this from another angle. When you chose bass it could be for any silly reason - just be honest, but having said that, how did you develop youself on it, what is your personal mission for music and how are you putting it into practise, and how will traipsing round summer school camps with a double bass allow you to fulfil that mission. but more importantly how will the givers of the scholarship see (or hear)when you've finished (based on examples you give of what you have done so far? I don't think you will gain anything by saying bass is better than other instruments or making a case for bass. You need to make a case for yourself as a musician who happens to play and love bass.

As I said - I don't know aything about these particular interviews, but I think you need to think through what you believe and what you actually do. You haven't got the time or I sugest, the experience to deal with interviews from a devising clever answers perspective - very few people can pull this off - and those that do are usually unpleseant individuals - those that do well at interview know themselves (as workers or musicians not necesarrily as human beings I hasten to add) very very well indeed and can tell the interviewer at the drop of a hat and learn this:

what they did

why they did it

what the result was

and the clever ones will say what they are now doing to improve and what they learnt from their answer - doing not thinking about it or what they plan to do - doing - it could be what they are doing about their plans but never just a plan - doing.

And these people do so well becuse they come accross well because they are themselves. As I said, they won't be better than you - but they will just know themselves in the role that is being interviewed for that little bit better.

Mr. Crumpton, WOW.:cool:

Mr. Crumpton, WOW.:cool:
LOL . I think I shoulda stayed in bed. I gotta a full days work coming and an all evening rehearsal. I'm gonno be sooo tired I'll write another long spiel on something I know nothing about. I never got round to saying you need to be succinct but then that would have been a little hyppocritical - although true :D

well Mcnaire that's what I mean. the question threw me. But I don't usually have to qualify anything I do in life to others. Specially things that bring me joy and sore fingers.

This is turning into the Python scene when the guy gets thrown off the bridge for answering question wrong.

I thought I'd help out . But really Dude at your stage of the game I wouldn't put so much pressure on yourself.
when it comes down to it you are only reasonsible for your input. the outcome is up to others. took me a long time to realise and accept this. This is especcially significant in auditions.
Now go practice

QUOTE=mcnaire2004]I have learned that it is more about telling them why you need the scholarship and why you should go to a music camp..[/QUOTE]

well I guess If you play a crappy audition then you really need that that scholarship to get some learnin...

Hey man, we're just trying to offer some useful advice that can help you beyond just simply tossing random questions at you. I'm sorry if you disagree, but I believe that the things being said here are even more valuable than what could be yielded in the way of your original request for Q&A.


+1

mcnaire, I would bet that nearly everyone who has posted a reply to your thread has been playing longer, has been through more auditions, years of study under different teachers, played 10 times the repertoire, etc. You should really realize that everyone is trying to help you. You have the drive, that we all have or had at one time, and it would seem as though you have some talent too. Nobody is being rude to you, even the short time I've been on talkbass, I've not seen one person be down-right rude to another. What I do see is you asking questions and then getting agitated when we tell you something you don't want to hear. You're wasting your time, and a lot of other fine folks' time.

One thing you're just going to have learn to do is keep your ego in check, learn to take criticism and suggestions, and be grateful for it. If you can't do this my friend, I guarantee you won't make it far. I remember what it was like being 16 and in the youth symphony.. everyone always impressed and giving praise, and nobody you know is better - but when you get to college or even a music camp you're most likely going to be the small fish. You'll be surrounded by people with talent and drive. What will set you apart from everyone else? Dragonetti in 6 days ain't it, bud.

I'll give you this - if Dragonetti is the only concerto you have, go for it on Monday - but at 16 - you'll be auditioning heavily in the next 2 years. You need to find a piece, and prepare it properly. In my opinion Dragonetti's 1st mvt is about the worst audition material you could possibly choose. Do some searching on this forum, consult your teacher(s)(do you have 2 now?), and find a piece that is a little less - hate to say it but - cliche.

Sorry for going way off topic, and I apologize for the attack mcnaire - again I'm just trying to help like everyone else.

Good luck on Monday...

+1
Sorry for going way off topic, and I apologize for the attack mcnaire - again I'm just trying to help like everyone else.

Good luck on Monday...

JB, I wouldn't consider your post to be an attack, but good advice ( Maybe hard for a young player to hear, but..I was 16 myself ,a long time ago...)
I think Sam said it best and most tactfully.-YOU are a person they would be happy to be associated with. Just be yourself, man. Forget the script. The scholarship is great and we all hope you get it, but ultimately it will be just as valuable for you to go through the interview/audition process.

I didn't get it. I was told that the Dragonetti Concerto was to easy. Witch, I do understand since I was up against a bunch of violins and violas. But it is cool. There is a second scholorship being givin out in a few months and Edger Myer is giving a master class when he comes to chatt late in march. So, Since there are the same judges I will probably play a excerpt of Bottesini's Concerto #1 first movement or the whole second movement. On a brighter side, the Manhattan School of Music sent me a recruitment letter today.:)

I didn't get it. I was told that the Dragonetti Concerto was to easy.
Did you know that Hal Robinson won his previous job as principle of the National Symphony playing the Dragonetti?

The point being that the easiest piece, played well, will always be more impressive than a difficult piece played poorly.

Did you know that Hal Robinson won his previous job as principle of the National Symphony playing the Dragonetti?

The point being that the easiest piece, played well, will always be more impressive than a difficult piece played poorly.
True, but thats what they told me on the phone earlier today. "The level of difficulty wasn't up to some of the other instruments." I had a kinda knew I wouldn't be able to compete with the second chair first violin. But it is cool. I was selected to go to Tennessee Honors Festival. They probably got my name off the list of people who made all-east.

Levinson also played Dragonetti as part of his NY Phil principal audition.

However, that didn't cut it when he auditioned for all-east.

Here we don't choose our own audition music for all-east. We just get what they give us and we all go to the "blind" audition (BTW we played Mozarts symphony No. 41 for all east). I honestly think the Dragonetti is a difficult piece. I spent a lot of time on the Dragonetti the last few weeks. It really took allot of work. I was really mad (and so was my teacher when I called him and told him what they said).

Levinson also played Dragonetti as part of his NY Phil principal audition.

However, that didn't cut it when he auditioned for all-east.

Was that All-East Ukraine or Russia?

Here we don't choose our own audition music for all-east. We just get what they give us and we all go to the "blind" audition (BTW we played Mozarts symphony No. 41 for all east). I honestly think the Dragonetti is a difficult piece. I spent a lot of time on the Dragonetti the last few weeks. It really took allot of work. I was really mad (and so was my teacher when I called him and told him what they said).

Sorry McNaire, Unfortunately there are a lot of chin-instrument players that are uninitiated when it comes to the bass rep. Just a suggestion, but Edgar knows the Dragonetti quite well he could help you a lot with it and maybe that would be an opportunity to show those judges a little about the bass rep. Wait a while on the Bottesini.

Bass discrimination tends to be rampant in string competition.

Bass discrimination tends to be rampant in string competition.
Totaly agree.

Very sorry to hear the result McN but sod that, it's the next that matters now. I'm crap at following my own advice. If I was in this situation I think I should ask the bass people in the know about the Dragonetti - is this an audition winning piece as above, and therefore do you think I should build and perfect what I can do or do something new? You look to be doing this already.

I've been out a couple of days and missed the result when I called in an internet cafe. If a bit of flash is all that matters I can list many jazzers who'd be out of a job, Charlie Haden being top of the list. I've run into quite a few people over the years that think bass is easy. I play other instruments and have a different view. But despite that - what a thing to say - it's not an ice skating competition where they seem to give higher artistic marks as well as technical ones for the skater who jumps the highest with the most twirls. If you've got an anorexic midget of a skating partner you can throw her accross the rink doing quituple triple salkos with backward flip and pike. Actually if you throw her into the barrier they still give you a silver medal (I've been keeping up with thte winter Olympics) If your partner is larger you do something else - but it's no less artistc or difficult. Unfortunatley they only seem to mark in a manner that benefits freaks.