-
Hello to everyone in internet jazz land. I am coming up on an audition to start a bachelor in Jazz Guitar Performance and wanted to get some input from you guys on choosing the pieces I'll be performing. The instructions from the school are pretty basic:
Perform 2 Jazz Standards, a 12 bar blues and one classical or technical study
Choose 1 medium swing piece and one piece that contrasts with the first, ie Latin, Ballad
So far I don't have a swing tune in mind, I was leaning towards something by Duke but haven't settled on anything
for #2 I was leaning towards Stella or Darn that dream because I'm super comfy with them but a latin tune like song for my father or a night in Tunisia would be really fun as well.
I can bring a single accompanist, a backing track or play solo as well. I thought going with a drummer would be pretty cool, as I'll be outlining the changes, hopefully haha, in my solo's
I'm going for a bach violin concerto for the classical piece which is a pretty good display of technique, so I don't need to be going for Donna Lee or anything like that with the Standards.
It's tough to choose as there are so many good tunes out there. I need to have the melody, chordal accomp, and solo in each as well. Chip in with some setlists or input!
-
02-28-2013 01:20 AM
-
That's exciting - good luck. You'll probably get a more valuable response here if you post a few examples of you playing the tunes you are considering. It's pretty hard to make a judgement on which tune you should play without hearing you play them. In general, I'd be playing the tune I'm best and most comfortable playing. Otherwise, I kind of like Joy Spring.
-
Yes, post video recordings. That will be so beneficial for your preparation.
-
What school is it, if I may ask? I know a couple of good jazz schools and if I know yours I could maybe find something out about the audition.
You definitely want to go with something you know, as cheesy as it may be. Not trying to put you down, but the judges KNOW, and I hope you do too, that you're not the second coming of Kurt Rosenwinkel, at least yet
. You're better off showing what you CAN do without even thinking about it. So an easy tune like even Summertime played extremely well can get you further than a half assed Stablemates, but if you can get through Stablemates just as good as you can get through Summertime, then you should go with Stablemates. Know your abilities and play comfortably inside of them. Stella is usually a good choice, you can play it as a bossa. Night In Tunisia is great. I would steer clear from Song For My Father unless you can do some cool stuff with it. People tend to not like it. Also steer clear from ballads. When I auditioned for City College of New York I auditioned with ATTYA and When Sunny Gets Blue. ATTYA was fine but one of the professors told me afterwards that he usually doesn't like ballads, cause they take up too much time and have the tendency of dying off, so unless you're playing solo, try to not do ballads.
As far as accompanists, your best bet would be to bring a piano, bass, or guitar player along and play duo with them. Its hard to make drum+guitar happen. You also have the added benefit of having them see you accompany another instrument. A bass would be ideal, because it demonstrates comping and dynamic control, since you have to be aware of your dynamics for a low volumed bass solo.
Then for classical stuff, Bach violin concerto is a great choice. Be sure you don't stumble around on it though. Just as well as with the jazz stuff, if you can't get through the piece with no mistakes, bring it down a little. Bach inventions are also great pieces. In some of the 2 part inventions, the two voices are possible on guitar as a solo piece. The 1st invention is a really nice one to do that with. If not, I would bring a guitar player and play the more difficult inventions in single lines as a duo.
In the end, you know yourself. If you post some videos we can probably assess you that way, but as of right now you know yourself best. Good luck, though! As long as you look like you know your stuff, and you're a good learner, they'll take you. Schools aren't looking for great players to accept into the program, they're looking for good students who they see the possibility of having them leave the school as a great player.
-
Thanks a lot Jtizzle, that was exactly the kind of input I was after
I definitely agree with your advice to play a piece I can master vs stumbling through something to try to impress the judges.
I definately think doing a ballad solo is wise. And thanks for the heads up about ballads in general.
As for the accompanist, I would prefer to bring a piano player but at the moment I'm lacking musical buddies that can play jazz coherently. This is actually one of the main reasons I want to go to school, to have more time to focus on playing and to play with PEOPLE and not just aebersold/bergonzi tracks forever. So I was thinking of hiring a student from the university jazz program to play with me for the audition. Thoughts?
I feel like it'd be beneficial for them to see how I interact with live musicians vs a backing track. But obviously not the end of the world if I had to go with a backing track.
For today's practice I just settled on Lady Bird, Darn that Dream and Tunisia
I like the ballad as a latin piece idea. Win-Win. Wes has a great latin versions of Darn that Dream and Here's that rainy day that i've always felt really strongly about. This might be the best options
The Classical piece is also optional and interesting at that. It doesn't specifically state it needs to be played with classical technique, it just says a technical or classical study. I'm quite firm on the bach concerto cause it gets burning with a pick and sounds great on a jazz box.
The school is Capilano University in North Vancouver, BC
I'll post back with some video's in the next couple weeks. I feel like I'm over complicating it for sure, because I have confidence that I can get it. I just want to get into the good ensembles so I really get the most out of the whole experience
-
Why get a degree in something with no work, money, careers, or future? Seems like a waste of time and money. IMO.
-
That's a pretty negative point of view. I figure I'm only gonna live once and my favorite thing to do is play and compose music so that's what I'm going to do. I'm planning on getting a masters to be a professor at a university professor to have a solid career to support myself while I'm getting my freelance game up.
If you want to make money playing, or at least in the music business, it's possible you just need to have the drive and keep whacking away at it, cause you're basically starting a business by being self employed. For me, the possible struggle of being self employed/in school for the next 6 years is worth the benefit of concentrating on music 24/7. There mere fact that this is an option in the city/society I live in leaves me no choice but to go after it. Everyone's lives are different so do what you gotta do.
-
It's a whole lot more complex than that, but I see you have put in the time to see the bigger picture, and that's the important part, going into it with both eyes open. You know what reality you're up against and sound pretty smart, best of luck.
Originally Posted by euterpe
-
I agree. Two words: Defense Industry Originally Posted by cosmic gumbo
-
'Then for classical stuff, Bach violin concerto is a great choice. Be sure you don't stumble around on it though. Just as well as with the jazz stuff, if you can't get through the piece with no mistakes, bring it down a little. Bach inventions are also great pieces. In some of the 2 part inventions, the two voices are possible on guitar as a solo piece. The 1st invention is a really nice one to do that with. If not, I would bring a guitar player and play the more difficult inventions in single lines as a duo.'
Are serious? I know professional violin players who study on Bach's violin concerto all their life. I play classical guitar all my life, including some of Bach's works. Every time I play Bach I bow my head out of respect and humility. Bach is not easy to play on the guitar, not necessarily because it is difficult technically, but because of the musical complexity. Every voice and melody line need to be heard. I agree Bach is great music to play but not necessarily for an audition where people may be listening for the spots where you likely will make the mistakes. Professionals know these all....
Playing something below your level is perhaps the best way to go.
-
Jazz school is a lot like the defense industry. They both want to make a better robot. Originally Posted by Jimmy blue note
-
Thanks for the advice. I think that seems to be the key thing everyone is pointing at.I agree Bach is great music to play but not necessarily for an audition where people may be listening for the spots where you likely will make the mistakes. Professionals know these all....
Playing something below your level is perhaps the best way to go.
-
Uh...yes I am serious? That's exactly what I said in my post. If he can handle the violin concertos, by all means, but not play them if he's gonna stumble on them, and he should go to the inventions if he can't play the concertos. Originally Posted by stevus
-
I don't know Capilano but I have been involved with the admissions people at a couple of US based schools. They get a lot of students applying, and auditioning. They have to take a lot into account, nervousness, skill, experience in front of an auditioning panel and yes, students trying to impress them with what seems like a difficult piece.
If I can just throw in a crumb of observation, if an applicant comes in and conveys a genuine love for their instrument and a solid (not necessarily exceptional) level of proficiency and a personal sense of character (they get this from other aspects of your application too) they will remember you.
Remember, they're there to teach you. If you show them you love to learn, and you've loved it enough to get this far, and you can convey that in a performance, that speaks as someone that most schools would love to have in their classrooms and concert halls.
Don't over reach euterpe. You want your confidence to reflect your relationship with an old friend, your music and your guitar; something that will show you up. The things you think are difficult and impressive will be surpassed within a year of attendance, and with greater depth. Show what you are now: someone who loves to have a guitar in your hands.
And despite those that don't believe in the virtues of an academic education, use that time to meet people, develop your critical thinking skills, learn from your teachers and not just your classes and search for the art beyond the craft. That, I believe, is how you can use an education to your advantage. The deeper your school is connected with people in the scene you see yourself in eventually, the more the incentive will be to use that channel with all your resources.
David
-
Truth- some great points. I thought your comment on nervousness was important. Especially since they're gonna be judging if I can make it for the A, B, or C band. I'm attempting to get a small group together to perform it live before the audition and definitely gonna have some mini concerts with friends and family.
-
Yes! The more you do this, the more you will relate to the music, your instrument, the others in the room, the space, the time... all the things that are more important than the fact that you happen to be taking an audition. Originally Posted by euterpe
On that point, as much as possible, be aware of things that relate to the whole piece and don't hyper-focus, when you're practicing and having fun with your friends. Then bring this awareness, as much as you can, into your audition.
Breathe and go in knowing that if you can know that it's you and the music, that your awareness can be focused, you'll have an advantage over many others.
You can do it. Be yourself. It's a lesson you'll find useful once you're in. Good luck!
David
-
Thanks again david
I really try to make a concious effort to separate my practice vs playing into to separate things. So I practice for however long and work on goals etc. but then when I actually play the pieces I just play and don't think about anything, that way I'm really just letting things out that i've absorbed and not getting my playing/having fun time confused with "work".
kind of like the parker quote, Master your instrument, master the music & then forget all that & just play, but doing it everyday
If any of you guys have auditioned for school what did you play to get in?
-
You're going to play the jazz tunes without leadsheets right? When you say you are 'super comfy' with certain tunes, that means you know the changes inside out from memory right?
-
The checkbook was more important to them than the music. Originally Posted by euterpe
Last edited by cosmic gumbo; 03-03-2013 at 10:41 PM.
-
To answer euterpe's question I played a chord melody of Satin Doll and Autumn Leaves, and improvised over the changes, and comped for the teacher that was auditioning me while he soloed. The school I currently attend is $40,000 a year, and they gave me enough in performance scholarships and various grants that it now costs me only $2,000 per year. It's all doable. Make sure you do not need to have charts to play the tunes. Know them inside and out from memory. I was not allowed to bring any sheet music, all had to be memorized.
-
thanks for the input everyone
Yeah I definitely assumed I would be playing from memory, a good point to make.
-
Originally Posted by cosmic gumbo
sounds like Berklee or MI?
BTW - music schools aren't the only ones that do this. i was in an executive masters program and one professor joked that we would all earn at least a "B". that's because a "B" was the minimum required to stay in, and most everyone was having their education paid for by their employer.
-
if you want to play a classical piece, i would recommend something for the guitar. are you playing with fingers on nylon or with a pick on steel string? (For the latter there are a lot of arrangements by William Leavitt in a specifc book found at Berklee Press, and in the Mel Bay modern method. Many of these are Carcassi studies)
Regardless, a familiar Carcassi or Sor etude seems appropriate for a freshman jazz guitar audition where you are to demonstrate basic instrumental capability and awareness of the classical tradition and approach to performance.
You should not need a concert masterpiece, an intermediate etude should suffice. Most importantly, play in a stylistically acccurate way, use appropriate expression, and demonstate full control.
-
I have no experience in music school auditions, but anyway one of the pieces I like to warm up/down on is a Bach invention. I start out playing it with straight 8ths but then about halfway through I start swinging the piece, then bring it back to straight 8ths to close it out (or not, I mix it up). It sounds killin. Could you do that in your rehearsal? Bach music swings very nicely. Check out Jacques Loussier "Best of Bach" - they basically play Bach in a jazz style.
-
euterpe, keep the faith,keep your eyes and ears open, you are on themoney about how lucky we are to live in a time where you can study nothing but the guitar/music for an education. Granted everything you get from your career in music will have to be created by yourself, and however meager those financial rewards may be by comparison to other professions, it is priceless at the end of the day to know that your vocation and avocation have aligned as two eyes do in sight. Don't let anyond stop you not even yourself. As for auditioning I would stay with the stuff I can play in my sllep, and have fun!! Good Luck!!
Reply With Quote
Couple of entry level arch tops
Today, 01:28 PM in For Sale