<p>I know you're asking for what we would change...but one thing that we absolutely did that was right was have both of our kids take piano lessons with a GOOD teacher. DS, the performance major, says this was one thing that has helped him immensely with many aspects of his playing including transpositions, chords, keys, and theory. We also started tours in 10th grade where we heard that piano study was strongly recommended. Also DS took music theory classes each summer at his summer programs and then took the AP class in high school (no he didn't get credit...music majors have to take the course...but it prepared him well for college theory). AND both kids also sang...learned solfege at young ages. Again an edge...or at least that is what they have said.</p>
<p>As far as the original question, I'm not so sure I'd change anything about the actual college search/application process. During D's sophomore year, it became very clear that she wanted to major in performance, hoping to get a job in a major orchestra, so we were able to start thinking about the process fairly early. We also seemed to stumble blindly into the right programs, often after D was rejected from some program we felt she would surely get into. These early rejections also seemed to suggest to us that "the right connections" (some would say "politics", perhaps?) can sometimes play a role in the whole process. Sometimes I wish I had been more vocal or pushy, but that would have driven D crazy! Those early rejections led to something better for her anyway.</p>
<p>One thing I wish we had done earlier was figure out how to make quality recordings. Husband and I (as well as D's teachers) are technologically backward, so this has been a struggle. Every music student will eventually need to know how to do this to apply to some of the top summer programs, etc. We gave D a minidisc recorder about a year ago and she has finally figured it out I think. Otherwise she has used recording studios, which has been rather costly and inconvenient to use. (Another thing I wasn't prepared for was the COST of everything - not just tuition, but the instruments, the summer programs, the extra lessons, etc.!!)</p>
<p>As far as changing teachers, we had been advised fairly early on that if D hoped to make this a career, it is very important to get the best possible teacher. D's first teacher (for about 2 1/2 years) was very young and very enthusiastic. She still totally believes in D and we were (and still are) very fond of her. She had never taught anyone like my D, who progressed rapidly, and made several remarks like "In a few years, she'll be better than me!" and "I hope I don't hold her back!" Also, D left several lessons feeling "I didn't get anything out of that lesson." D also left summer camp, having been told that she had enormous potential and needed to be studying with a principal player in a major orchestra. It was very difficult to decide to look for a new teacher, but when her teacher became pregnant and D needed a temporary replacement, we felt it was the opportune time to start looking. The last two high school years were spent with a teacher whose students go on to become performance majors and who is considered a very good teacher (his top students generally get accepted at the top schools).</p>
<p>My son has had four piano teachers in ten years, and some people think that is a lot, but it has worked out for him. Each time, it seemed auspicious that he needed a new teacher just as the situtation was somehow changing (first, young teacher, married and moved, etc). I have always found changing teachers much more stressful for me, than for him, since most of the ground work in seeking/calling/scheduling the new ones has fallen on me.</p>
<p>We did switch from one exceptionally well renowned teacher because her style did not match his at all...she drove him too hard, did not appreciate or nurture his other musical interests, or realize that they were every bit as much a part of him as the piano, and part of what made him unique and interesting. However, he also grew and advanced incredibly under her tutelage, so he stayed with her a full two years. Personality wise, it was a difficult match, because he could never be what she wanted, and her perceived disappointment was difficult for him to deal with (maybe more me than him, even).</p>
<p>His current teacher, who will take him through the audition process, may not be as highly regarded (although still a very fine teacher), but she completely understands this boy of mine, and has also gotten amazing music out of him.</p>
<p>So, my experience is that sometimes the "best" teachers are not the best for individual students. At least that is what we have found.</p>
<p>D herself knew she needed to change teachers early in her sophomore year, and finally in early spring her high school (public school) band director said it was time for a change. I was orignally reluctant to change, because the first teacher seem to be such a nice person and had been so flexible when D was deciding between music and a sport. There were rather bitter feelings expressed when D quit. I should have helped D search for a new teacher when she first expressed concerns, but at that time I didn't realize how serious she was about music or maybe I was in denial.</p>
<p>Rainmom looks like I have tons of research to do before I am get any idea about what schools might be financial safeties. I am realizing I am not very good at this. But I will put in the effort.</p>
<p>Yes as those that read my first post here know, financial concerns are a big part of our problem in deciding which schools to audition for and which to pass on.</p>
<p>The teacher thing is something that I see in retrospect, but was not nearly as clear when we were going through it. Son was doing well with his teacher. His teacher was an older grad student who had played professionally for a number of years before deciding to get a DMA. He worked quite a bit with my son, often going over on lessons without charging extra. (He stated that it was his decision to work the extra time, not ours, so he didn't feel the need to charge extra.) Son won a couple of local competitions his freshman year, much to our surprise, so we felt like he was doing well. </p>
<p>However, by the end of freshman year, he had been with this man for 4 years. It think that after 4 or 5 years, most students at any level have gotten what they can from a specific teacher and it is time to move on. I think this is particularly true for high level musicians. Many teachers son spends time with whether for summer or for an academic year, have usually given him new ideas on ways to approach his instrument and deal with technical problems. There has never been any one teacher that has been able to solve all of his issues. The teachers he has appreciated the most are the ones who recognize this and encourage him to study with others.</p>
<p>I wish I had stood up to the guidance counselor at DS's high school sooner. S needed to lighten up his schedule senior year (drop math) and focus more on his auditions. The GC was a sweet man, but he knew NOTHING about conservatory admissions. Things improved when we just stopped listening to him and did what was good for DS.</p>
<p>I second librarian377's stance.</p>
<p>We checked with some of son's non-conservatory choices and dropped math after we confirmed he had minimum for admittance.
He was thrilled since math was (and still is) his absolute most dreaded subject. </p>
<p>Thus we had a happier son with more time to practice.....priceless.</p>
<p>Just resurrecting an older post for reference and potential "add-ons".</p>
<p>If I could go all the way back to fifth grade I would have chosen the trombone over the euphonium, especially seeing now how it is considered easier to get a pro orchestral trombone job, than it is to get a premier euphonium military job.</p>
<p>Gong back just a few years, I would probably have visited more campuses my junior year and met with the teachers. I also probaby shuld have just looked out of state too, seeing as how I never go home much as it is now, it wouldn't have been a problem to be out of state. And I would have looked at the music schools at bigger universities that I was too scared to look at before. Now I realize even if the university is big, the music school is usually a pretty small size. Also, I would have applied to more programs such as Johns Hopkins/Peabody and Eastman/Rochester to have more classes in the liberal arts.</p>
<p>1) Switched teachers sooner. There were cancelled lessons (usually on the day of), drama with the other students, and I didn't really learn anything. Current teacher is amazing . . . I improved more in the first week than I had in all ten months with previous teacher, and I began to love music again. It's amazing how much your teacher affects you!</p>
<p>2) Began searching earlier. There was too much panic at the beginning of this year about where to apply. Although I ended up with a pretty good bunch, it would have made the whole thing a lot less stressful.</p>
<p>3) Taken less AP classes. I dropped math in favor of a study hall, but I still ended up with four AP classes, which had waaaay too much homework to worry about in addition to practicing for a couple of hours every night.</p>
<p>Like everyone else, I would have spent less time on academics and more on preparing for auditions. I also should have applied to less schools (I applied to I think 16).</p>
<p>16 auditions???!</p>
<p>I would have been more blunt about asking profs to assess my daughter's ability and give us an idea where she would have a good chance of acceptance. I think we had too many reach schools on our list and not enough safe schools.</p>
<p>That said, we are still waiting for results 7 of her 9 auditions. So far we have an acceptance from Ithaca and a rejection from CIM (but she felt her audition there didn't go well). We also expect a rejection from Boston Conservatory. Since she had solid auditions at UMich, Northwestern and Hartt and is strong academically, I have my fingers crossed for those schools. I think Eastman, Peabody and Oberlin were too far of a reach for her, but we'll see.</p>
<p>Knowing what I know now, I may have encouraged her to pick up an instrument that is not as competitive as flute....but she wouldn't have it any other way.</p>
<p>I am also incredulous that anyone had the stamina for sixteen applications, much less auditions! (I am assuming that the poster did some by DVD or CD, or had a number of local auditions). Either way, that a mind boggling task! Good luck! (even nine sounds like a lot to me!)</p>
<p>Lol most of those were applications without auditions, and many of those schools were on a unified (SUNY) application. This was last year, by the way. I think I did about 7 auditions. I ended up getting in everywhere I applied academically (except Yale), but only one conservatory (Crane). I now attend Brandeis University, where I am double majoring (for a BA) in Music (Vocal Performance) and Theatre (Musical Theatre). I am very happy here, though I must say I was very disappointed (offended even) to find out I only got into one out of seven conservatory programs.</p>
<p>Echoing earlier posts, our biggest mistake was not having the right teacher soon enough. I was ignorant and just let things go on with a mediocre (and that's being kind) teacher for far too long. It was only when I stumbled upon this forum that I realized that there was a wide world of serious musicians out there, with solid programs to advance, and it opened my eyes. My son is in 9th grade, and I got him his teachers last summer, so I hope it's not too late. But he's playing catch-up for sure. His current teachers believe in him and challenge him but I can't help thinking what might have been had I only had a clue earlier.</p>
<p>I would have just gone to Princeton and commuted once a week for lessons. Anywhere close to new york... I would have taken art history and taken a second teacher to play different repertoire for.</p>
<p>Vieuxtemps -- I recall you saying it would be a drag to commute from Columbia to Juilliard -- just think how much more difficult it would be to commute from Princeton. Princeton also has very rigorous academic requirements, including a junior and senior thesis ("the quintessential Princeton experience") which would make it nigh on impossible to keep up music at a high level for all but the rare student. Columbia-Juilliard has a big attrition rate too. Of the Ivy's Yale and Harvard are probably the most musician friendly -- Harvard is also located in an area where it would be relatively easy to find good music teachers.</p>
<p>no, I am staying with the same teacher. I'm not going to Columbia. I would only be doing lessons... no orchestra, chamber, or anything, so I would only go maybe once a month, plus I will probably go on weekends anyways. There's a couple people at princeton doing the exact same thing as me... it's not a big deal.</p>