I've read the later posts in this digest and this is in response to those as well without quoting all. William, I don't think it is all luck. Yes, some people get more opportunities than others. I will say this, I listened to thousands of professional audition candidates in my career. Most were well educated, at least looking at their resumes and I would think they had put in their 10,000 hours. Many, though, are lacking in the skills needed to hold down a 52 week major job. They might find other spots in the business, though, and eventually have success if they improved certain things in their playing. Your opinion about "very capable" and "mediocre" players is noted but I wonder if you really know what it takes. There is less opportunity now than ever to find work. But, this has always been a tough business. In the '60's, when I was a student, I would judge that about 10% of performance trained musicians eventually found full time performance jobs. I would say now that number is more like 5%. Not just horn, but everybody. There are more schools now cranking out "performance majors" and less living wage work both full contract and freelance. Those who are "the best" and persevere do find stuff eventually. It takes them longer, though. When I was in HS and studying with Ward Fearn, I once commented to him that I would someday like to play as well as he did. He said, "As well as is not good enough. The whole idea is to get better than everybody else." When I started college, I went to two schools, both excellent, pursuing two degrees because I was not sure I would "make it" in the music business at the highest levels. Opportunity came my way, for whatever reasons, and I was making a living playing the horn when I was 18. By age 20, I had dropped academic studies as I was confident of a musical career and too busy to study effectively for my classes at Penn. I put off major auditions, though, until my senior year because I felt the training at Curtis was more valuable. Also, we were all looking at mandatory military service in those days and school kept you out of that until you graduated. With solid training, a lot of practicing, freelance performance opportunities (experience such as playing extra and subbing with Philly), I won my first major audition. There are "stars" doing that today as well. Jen Montone and Jesse McCormick come to mind. I know, and have taught, others, though, who have not made "the big leagues" until after 25 auditions or more over a ten year period. Anton Horner once said "There are two types of horn players and it's not high and low. It's good and bad." In those days, "good" horn players got professional work and "bad" ones did not. Now, I think you have to add the category "great," at least compared to the former "good," due to the fact that there are less opportunities. I encourage all but a few students to have a back up plan and continue to enrich themselves academically or technically in other fields. You need talent, good instruction, experience and opportunity over your 10,000 hours. And who knows for sure about that number. I never really kept track and I think most people don't. Playing the horn, or doing anything challenging for that matter, is a daily event, and must be done with dedication. Back to mangling metal. KB William writes: You have to put luck into it as well - especially now since there are more qualified applicants than there are available jobs. Any time that happens, politics, luck, and being in the right place at the right time (or right audition) can make a new career for someone or send them packing to the next audition.
I know of some very good and very capable players who aren't getting jobs and mediocre players who are. I also know of those same capable players who are barely making an income above the poverty line with the Horn. I had no patience for that so I traded being an amateur horn player for a stable career. And when I think about how much time and money I'd have to spend to even become semi-pro (if it's in my grasp), I get discouraged. I've gotten used to a stable income and I don't think I could ever go back into a lifestyle of student loans and accelerated debt. -William In a message dated 3/17/2010 2:26:47 P.M. Eastern Daylight Time, [email protected] writes: We had a discussion on this at KBHC last summer and it seemed to be true for the professionals. In my own case, I had about 2,500 hours of horn practice/lessons when i joined the union and started playing professionally as a free-lancer. But, add in piano study and practice, theory and ear training, band and orchestra experience that figures to about 7,500 hours of music at that point. Add the 3 years of study after that at Curtis, plus more experience both at school and professionally, I had well over 10,000 hours by the time I won my first position in Pittsburgh my senior year. Music is a life long and life consuming profession and I don't think there are any short cuts. KB In a message dated 3/17/2010 1:02:13 P.M. Eastern Daylight Time, [email protected] writes: A tidbit from the web: So what?s the crucial factor? One of the most significant factors is what scientists call the "10,000-hour rule." When we look at any kind of cognitively complex field -- for example, playing chess, writing fiction or being a neurosurgeon -- we find that you are unlikely to master it unless you have practiced for 10,000 hours. That?s 20 hours a week for 10 years. The brain takes that long to assimilate all it needs to know to achieve true mastery. -Steve Mumford _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
