<p>Hi,
My S needs to decide on a 3rd person to complete a recommendation form for one of the schools that he is applying to. He's has two solid recommendations already but he's wondering about the third. Would it be better for him to ask his former teacher (who he no longer takes lessons from because he's moved on to a higher profile teacher this year) or should he ask a teacher who he's known only since Feb. through a Saturday program (no private lessons)? Both would certainly complete the recommendation without hesitation, that is not the issue. The long time teacher got him started on his instrument, knows my S very well, and wrote the most heartfelt rec. when S applied to Gov's School. The Saturday teacher is more well known in the field but does not know S as well.<br>
S is in the Sat. program again this year so he could just wait a while before he asks the newer teacher, the rec. letter is not due until Feb. 1. Also, his former teacher does not play S's instrument as his primary instrument, does that matter?
Thanks!</p>
<p>Quite honestly, you could go either way.</p>
<p>Is this a supplementary, ie third letter for the same application? You would want to try and present a broad a picture as possible, as well as accurately reflect current talents and strengths.</p>
<p>Our experience was that son used a mix of LOR's, based on the specific app and how many LOR's they wanted/needed.</p>
<p>His sources included private teacher(s) (past and current), hs music department head, ensemble directors (hs, youth symphony), chamber coach, and a couple of music pros within his circle of contacts. He had a pool of 6 to 8 music sources and was able to select the mix that best suited the specific application; in some cases, he used an LOR to reinforce or substantiate an application essay or statement of purpose.</p>
<p>Each source had knowledge and experience to assess and highlight son's progression and development, and the cross discipline approach worked fairly well as each was able to address specific aspects of his strengths, including leadership, teaching, and high level small ensemble experience. Granted he applied to dual major perfomance/ed programs which tended to increase his need for an addional LOR or two.</p>
<p>It sounds like your S's in great shape! Relax - there are enough other things to obsess about this year!</p>
<p>Each school is going to have their own weighting attached to recommendations, but I can give you my perspective based on violin admissions to the more select conservatories/schools that I'm familiar with.</p>
<p>The rec's are most likely to be used by the Music Admissions dept. - prospective teachers may never even see recommendations. Admissions is looking for warning signs, not trying to assess the student's playing ability. That will be done by the faculty in the audition. A glowing recommendation will NOT make up for a mediocre audition.</p>
<p>The only time I'd be assured of faculty hearing a recommendation is when the current teacher actually contacts (phone or e-mail) the prospective teacher to talk about the student. This is done - colleague to colleague - on occassion, sometimes before a trial lesson, sometimes before audition. Even then, the student will still have to perform an audition justifying admission.</p>
<p>I also know teachers who have the students write their own recommendations, then they sign them... </p>
<p>I'm sure Admissions Depts. "read between the lines" very well. They can't have personal knowledge of most of the recommenders. The range of experience of the recommenders will also vary greatly - from those who teach only top level students and consistently send them on to select conservatories to those teachers in areas with few serious music students who may not know what the standards are in the country at large. Admissions knows this.</p>
<p>As many have said, for the majority of schools, the audition will be the key far outweighing any other factors. I'd encourage you to help your S focus energy there - grades, test scores and recommendations will be what they are. You're not likely to change any of them at this point!</p>
<p>To consider your specific question, I wonder if the former teacher's rec might be just right?? You've had good experience previously and the person has known your S for a long time. That may have more weight than someone who has known him for a lesser period of time. I think that the rec forms often ask for the length of time the writer has known the student. Going with the previous teacher has the advantage of getting it over with - not leaving anything hanging till later, but I agree with Violadad, I think you can't go wrong.</p>
<p>... obsess?? who, me??</p>
<p>Thanks fiddlestix and Violadad for your advice!</p>
<p>The school is asking for 3 rec. forms from persons who know S's musical ability so #3 is not considered supplementary. I think that S can go either way and I appreciated your comment, fiddlestix, just get it over with! Maybe I'm splitting hairs (I will be lucky if I have any on my head come April!) but it's good to get another perspective. </p>
<p>After I posted, I realized that there is also rec. discussion on an earlier thread that I had missed : - P. Good info. there too! I do agree that the audition will be the key factor.</p>
<p>I will share your posts with S and let him decide.</p>
<p>I don't thiink I've seen this idea mentioned before, but after my son sent in the required recommendations, an ensemble director kindly offered to email his top two schools to offer another recommendation. This may have worked well in the situation because he knew people at the school and could send a personal email. But, I felt that whatever little bit of enthusiasm you can add to your application, go for it. And the email seems somehow more casual when the rest of your application is paper.</p>
<p>Here's another question: S has two jazz recommendations from his private teacher and citywide ensemble director. The third could either come from the Citywide youth symphony he's been a member of since 6th grade (and has travelled internationally with twice) OR, his high school jazz ensemble director, who directs him 2x/week but doesn't know him very well, OR his HS music teacher who knows him pretty well and likes him, but doesn't direct jazz. He is looking at jazz performance programs. Any suggestions? We could get recommendations from all of them, but don't want to look obnoxious...</p>
<p>SJ, I wouldn't go with a director who doesn't know your S well, so I wouldn't ask the jazz ensemble director. I guess if I were picking between two non-jazz directors, I'd pick the one who knows him better, and can speak to his rhythm, time, musicality, technique, as well as his ability to work in and contribute to a group, etc. However, since you already have an out-of-school ensemble director, I might go with the school director. You definitely don't want five recommendations!</p>
<p>My $.02, for what they are worth!</p>
<p>You have two "applied" teachers writing recommendations about his playing abilities. It might be good to have the academic music teacher write about that aspect of his abilities, especially if that teacher taught him theory or composition and could give him a strong recommendation for those skills. "Knows him pretty well and likes him" is a good sign that the letter would be personal. I definitely agree with Allmusic that it would be good to include a school teacher.</p>
<p>Great--thanks! I was leaning toward the school music teacher (very small school) as son has been in band as well as professional pits for this teacher, but the youth symphony offered up a recommendation and, given his long tenure there, I was confused.</p>