<p>D went to 3 auditions. She got rejected for another through a pre-audition on a CD and decided not to go to a fourth. Interestingly, the one she got accepted by was her number one choice all along.</p>
<p>D did 7 for flute performance in her year of applying.Only 2 were able to be booked back to back.That was a driving trip, as was one upstate NY (Ithaca,through a blinding snowstorm..we called,they were not cancelling).All others were flying trips,I swear Im still paying off the credit card charges!
She missed a ton of school during that Jan-March time period.
The school that became her favorite was where she walked out of the audition,sat down on the floor and burst out crying from stress. Studio teacher came out in the hall, sat down with her and talked her down from the "stress high".This was the third from last audition but the last one we flew to.
I also would recommend doing a relative safety first,D did Oberlin first and even having attended their summer flute institute and knowing the studio teacher from that..it was stressful.Since they seem to defer everyone from their Early Decision auditions anyway, maybe going there in Dec isnt such a great idea?</p>
<p>The December acceptance rate at Oberlin varies quite a bit among the various departments. Chances are never good for flutes, especially where the teachers are very well-known and sought-after. Most departments have much higher acceptance rates, so auditioning early makes much more sense in those cases.</p>
<p>Hey BassDad..What's the scoop on early admissions for trumpets? Any idea?
Thanks very much!
SM</p>
<p>Sorry, I have no figures for trumpets but I would bet dollars to donuts that the acceptance rate is higher than it is for flutes most years.</p>
<p>Last year only 2 trumpet players were accepted at Oberlin (out of around 30 who applied) and both are attending. That's a pretty low acceptance rate. I have no idea about this year. I know at least one of their very top players is graduating this year.</p>
<p>Thank you BassDad and Beethoven's 10th. That's what I'm hearing: most schools have two openings for trumpet per year. That's not a lot when between 30-40 apply. I think Indiana's program is larger, but probably not by a whole lot. Appreciate the input!</p>
<p>Just finished reading this helpful thread but now I have additional questions about auditions.</p>
<p>I'm still completely clueless, am not musical, so I'm reading everything I possibly can before my son starts prepping for college as a cello perf. major. He's a HS sophomore, honors orchestra, cellist in Chicago Youth Symphony Orchestra. We're just beginning the college research.</p>
<p>What exactly is required in a college music program audition? I know it will vary depending on the school. But I've been reading about theory tests, among other additional tests. He's taken several year long therory classes at his CYSO but I'm not exactly sure how comprehensive these have been in preparing him for entrance to a music program. I've left messages to set up an appointment with his HS orchestra instructor for advice for this next level but he does not return calls (this is his last year before retirement so he basically no longer cares). I will talk with my son's guidance counselor and college advisor but in all honesty, I doubt they're very knowledgable re: music majors. And his private cello teacher is a good teacher in the area of discipline & technique but she is so out of touch about advising in this next level where we need her most.</p>
<p>So, is he screwed??!!!?? Once again, I feel as tho I am slowly drowning.</p>
<p>rudysmom- Don't lose sleep over the theory tests. Most if not all schools will test for theory (and ear training) either as part of the audition, or seperately at the beginning of the semester at orientation if admitted.</p>
<p>This test are solely for first course placement, not admittance. A knowledge of theory or advanced ear training can get you into the higher level course, effectively bypassing the first level course(s).</p>
<p>They have no effect on the actual admissions process. That's largely based on the performance audition, adjusted slightly by school and major.</p>
<p>Now, theory courses and ear training before college won't hurt from a knowledge standpoint, and may save you a course or two, but is not the make or break factor in admittance. If you can actually take AP theory, by all means do it if it works in the academic schedule without sacrificing anything, it's worth it. But even a 5 score on the AP exam will not result in credit for a theory course at the conservatory/college level performance program.</p>
<p>Don't sweat the theory tests. Many of the schools use them for placement only not admission. If he has had several years worth of theory classes and understands the material, he will do just fine on that part of the process.</p>
<p>What really counts is the audition. Almost all music schools have detailed lists of audition repertoire online. You should ask his teacher when she wants to start working on college audition material - some like to start as early as the summer before junior year and some prefer to wait a little longer. Once you have your initial list of schools made up, check out their audition requirements online and see what pieces he will need. </p>
<p>If the primary cello teacher is not helpful, it is high time for a new one. He really needs the best possible teacher you can get him for the next couple of years to maximize his chances of getting into a top music school. My daughter switched teachers the summer after her sophomore year and it helped enormously. She never would have done as well with the old one. Don't get me wrong, the old one was very good, but there is a BIG difference between "very good" and "best available".</p>
<p>Edit: crossposted with violadad. Stringdads to the rescue!</p>
<p>One more valuable resource you may be overlooking here: youth symphony graduates currently in undergrad performance programs. A YS the quality of Chicago's must send a half dozen of their seniors into a music path annually. Most YO's have an alumni network that will put the kids in touch with alums who want to follow that path or ask questions about a specific school. </p>
<p>Alums at music school are a plus for YO's; there's probably a published list available. Check with the YO. You could talk to alum parents for their thoughts and experiences. </p>
<p>You are not alone in this.</p>
<p>Excellent suggestion. They can also be a great resource for references to a new private teacher should that become necessary.</p>
<p>When should juniors start seeing audition dates on websites for the fall? Is checking websites the best way to get the dates or will schools that you are interested in alert you if you request information?</p>
<p>Thanks violadad and BassDad for both posts. I will get back to work tomorrow to search for a new private teacher. I have a few lined up "just in case." Now if I could somehow get the useless HS orches. instructor replaced... (what a waste of space.)</p>
<p>I know I will sleep better tonight. </p>
<p>Thank you ~</p>
<p>Cartera45,</p>
<p>juniors do not need to worry about audition dates unless they are auditioning a year early. They should have looked at audition repertoire by now, because that does not change a whole lot for classical auditions from year to year.</p>
<p>Schools handle scheduling audition dates in many different ways. Some put the dates up on the web site and ask you to indicate a preference on a form that gets sent in with the application. Some wait until you apply and then schedule the audition for you, requesting that you call them if the date they selected is a problem. Some send you a form after they receive your application. BU has an elaborate web site that lets you schedule your own audition time online, but you have to set up a login when you apply. Some schools ask that you contact the admissions office after a certain date to schedule an audition. The ones that put dates up on the school web site will probably not do so for at least a couple of months because they are still trying to sort out their entering class and are not yet ready to start thinking about the year after..</p>
<p>You really can't plan a year ahead because the dates may well change from year to year. In general, the main audition season runs from about the middle of January to the middle of March. Some schools have an early set of auditions that can happen anywhere from October through early December. Oberlin's early auditions, for example, are generally the first weekend of December. If you are auditioning at more than a few schools, you will almost certainly have some conflicts. Most schools are pretty good at working around these in a pinch, but it pays to schedule your auditions as soon as you can so that you have time to resolve any conflicts. Unfortunately, nobody will let you schedule them over a year in advance.</p>
<p>Edit: I just realized you probably mean current juniors who will be rising seniors in a couple months. (Duh! it's late.) They do need to start thinking about audition dates, but will probably have to wait until at least September before that information is widely available.</p>
<p>Just seeing this thread. I want to add some thoughts about school choices and scheduling auditions.</p>
<p>When making a list of schools, consider that for schools that are part of universities the music school recommends applicants for admission -- largely based on audition -- but the university has the final say. At highly selective universities, e.g., Northwestern and Rice, especially these days, that can prove to be a barrier to admission for many fine musicians.</p>
<p>Following the advice of older students from my D's high school, we tried to schedule an audition once every week or every two weeks and tried to avoid doing auditions on back-to-back days though we ended up with a pair of back-to-backs (out of 8 originally scheduled). The first time we did this, the second audition went poorly -- the audition the day before was grueling and gratifying, so the next morning's audition was the worst. This led us to cancel the first of another back-to-back and the result was her best audition of all at the higher priority school. The feedback at the audition was very positive so the last audition was canceled and she ended up doing 6.</p>
<p>Last bit of advice: pack extra underwear. We got snowed in twice, the first time for three days.</p>
<p>Just want to second and emphasize BassDad's point about the right teacher for the stage your S is at right now. My D's wonderful, long-term (8 years) teacher basically pushed her out of the nest a year ago (and helped us find a wonderful new teacher). Teacher #1 felt strongly about two things: that my D needed to have at least two years working with new teacher before college/auditions, one who was actively playing/performing at a high level (she'd spent more than 10 years building a teaching study after leaving the performance scene) and also have the experience of working with a teacher with a different style and personality. It has worked very well for my D over the last year, and her current teacher will be an important part of the research and advice process as she approaches school selection, targeting faculty, and planning for auditions....</p>
<p>Orchestramom's D had a gem of a teacher, one who had the best interests of the student at heart. Be wary of the teacher who is reluctant to offer advice on how and where to get to the next level. One unwilling to offer alternatives are placing their own interests ahead of the student's. A good teacher, like the one mentioned, will aid you in actually finding that next level.</p>
<p>Be aware of the teacher who also insists that an instrument needs upgrading and directs you to a specific source, insisting you have to buy "here". It is widespread industry practice that a commission is paid directly to the teacher by the seller for "brokering" an instrument sale; the commission is built into the instrument price. Unfortunately, these deals are unstated, and fairly secretive and provide some teachers with a substantial source of income. String instruments of the quality our kids require are a major expense, and are made more so by that type of hidden cost.</p>
<p>A good teacher will/should offer numerous sources for upgrades. I would expect to compensate for whatever time is spent in selecting options and helping one evaluate an upgrade. I'd expect an unbiased evaluation however.</p>
<p>I've known teachers that have spent their own time going out of their way to find a patron that would provide a high quality instrument to an underfunded player at little or no cost.</p>
<p>There is coal. And then there are diamonds.</p>
<p>My $ .02</p>
<p>BassDad - LOL - as I was reading you post, I was thinking, "he is going to figure out what I meant any second now" and then there it was. DD is a soprano and I feel it is a full time job narrowing the choices to 5 or 6 auditions. She visited 3 schools over spring break, thinking she would narrow them to one, but she liked completely different things about all three. I have to cut quite a few based on finances. </p>
<p>My daughter also switched private voice teachers this year and I wish we had done it earlier. A friend of mine in New York told me about a wonderful teacher who had moved to my area - Curtis grad, Metropolitan Opera experience, etc. who was not taking new students but would agree to work with my daughter for one hour to give us an idea about her talent. We were shocked when she pulled out her calendar and told us she kept one hour open on Wednesday for herself and she was willing to give it up if we could do it. My daughter jumped at the chance even though it is a 45 minute drive because she knew from that one lesson that she could go to a different level with her. She could not be happier, even though telling the other teacher was not fun.</p>
<p>cartera45--when D switched teachers a year ago, it was a huge commitment, not just for her but our entire family since her new teacher is a 2.5 hr drive (one way!) from us (and considerably more expensive LOL). And yes, it has been MORE than worth it.</p>