Details:

https://www.jaxsymphony.org/about/employment-auditions/

I notice that they are asking applicants for a $100 deposit.

What are the circumstances that the applicant would get that "deposit" back?

[quote="robcat2075"]I notice that they are asking applicants for a $100 deposit.

What are the circumstances that the applicant would get that "deposit" back?[/quote]

Show up for the audition to get the deposit back. Deposits are used to discourage people from signing up and not showing. Cancelling well in advance is another way to get the deposit back.

Usually they just hand you back your undeposited check.

Obviously, people have started letting orchestra managements know that nobody has physical checks anymore...

Many orchestras have been trying to make the audition experience better by spacing out the arrival times for candidates - for instance, having 20 players show up at 9 for a 10AM start, and then have another 20 arrive at 10:30 for auditions that will be after 11:30, etc. This way, they can provide more private warm-up space for people waiting to play, and not have 50 or more people waiting in some large space, either all playing at once, or perhaps worse, having to not play because it would be heard onstage. When candidates drop out at the last minute, it can mean that there are not enough players there to fill the time that has been allotted. The deposit is really to make people do what ought to be common courtesy - notify them if you're not coming. It's a bit like having your dentist charge you for not showing up to your appointment.

Jim Scott

How many do you think they invite for a live audition? Is 40 low? Is it unusual that they have not asked for a screener audio recording?

Sad comment on the state of bass trombone solo repertoire...

<ATTACHMENT filename="JaxBTrbSolos.jpg" index="0">[attachment=0]JaxBTrbSolos.jpg</ATTACHMENT>

... there is no actual bass trombone solo they regard as worth hearing. :shuffle:

It's hard to say exactly what the numbers are for any given orchestra's auditions. There are some places that listen to everyone who applies, but being able to schedule all of that time can be difficult. All of that time for the audition committee, and they want to have the Music Director there if possible (although usually for later rounds). Then there is the rental of the hall, which can be quite expensive, and if you need to use multiple days for preliminary auditions, then the later rounds will likely involve another trip for the candidates who get that far. Offering an option to submit a tape or video happens in some places - but there are plusses and minuses to that too. Narrowing things down by screening resumes happens sometimes - again not ideal, but if there isn't time to hear every applicant, then there has to be some process to make sure that the most qualified people (on paper) are heard.

I can say that most orchestral musicians want to hear as many players as possible because we have all been that younger player who was going to their first auditions, having to jump through some hoops in order to be heard.

As far as the solo repertoire, I would choose similar repertoire if I was putting together a Bass Trombone audition list. You want to choose standard literature that most people will have played before, and it's more about hearing the candidates play some lyrical material, and phrase nicely. You need to find someone with strong skills in both ensemble playing and in melodic playing, but it's not a recital.

Jim Scott

[quote="CalgaryTbone"]

As far as the solo repertoire...

You want to choose standard literature that most people will have played before, and it's more about hearing the candidates play some lyrical material, and phrase nicely....[/quote]

Yup.

That is a damning verdict on what we have available to play but choose to play instead. Our standard literature is someone else's.

[quote="robcat2075"]<QUOTE author="CalgaryTbone" post_id="288893" time="1762846993" user_id="3262">

As far as the solo repertoire...

You want to choose standard literature that most people will have played before, and it's more about hearing the candidates play some lyrical material, and phrase nicely....[/quote]

Yup.

That is a damning verdict on what we have available to play but choose to play instead. Our standard literature is someone else's.
</QUOTE>

True, but EVERYONE steals the Bach - Cello Suites. I've heard them played on saxophone. I have put a movement of one of the Suites on tenor auditions too, especially for 2nd trombone to hear some low register playing. Since there is almost never an accompanist available, something that is supposed to be unaccompanied fits nicely. I have chosen to use an edition for trombone in some cases, so you don't hear all of the different versions of dealing with the double stops. If I were having a student perform one on a recital, I'd probably suggest the opposite, so they could figure out a musical way to imply two or three notes at once.

Jim Scott