It is getting near the time when aspiring hornists are getting ready to audition for either undergraduate or graduate school.  This post will hopefully give you ideas on how to prepare and handle these auditions.

First of all, if you are a senior in high school, you should be making inquiries NOW!  Ideally, initial inquiries in the Junior year (at least for those who already know what they want to do) may be in order.

You may have already been contacted by some school or horn professor.  Nevertheless, you should be making a list of schools which interest you.  Factors may include a) what type of school/institution you wish to attend, b) a specific horn teacher with whom you would like to study, c) the type of degree program that interests you, d) the atmosphere of the institution (in other words, do you feel comfortable on the campus). e) performance opportunities within and without the school.  f) track record of graduates of the school.

To be sure, there are others, but for now let this suffice.

Most schools hold Audition Days.  These are days when interested students come en mass to the school.  These days offer valuable information sessions for parents and students.  However, I have found such days sorely lacking in allowing for quality individual time to sit down with the student and parents to answer individual questions.  While such days are beneficial, it is an even better idea to visit the campus on a normal day so you can see the school "in action."  This will give you the opportunity to find out if the students that attend there are "your type of people."

Also, you can use this opportunity to hear the ensembles, and see how the ensemble directors train their groups.  It would also be a good idea to get a lesson (or some private session) with the horn professor. Being that you will have a very close association with this individual, you need to know if there is a good chemistry between the two of you.  Some professors are more accommodating than others on this due to their schedule/work load.

I have found it beneficial for students to visit several schools.  This way, an objective comparison may be made.  Do not be swayed by promotional material you may receive.  Any school can put a good spin on their program.  So, never EVER decide to go to a particular institution without a personal visit.  While things may work out, there are too many intangibles that
makes this decision dangerous.

Next, let me discuss the audition process:

The audition process may be two-fold.  Some auditions may be only for consideration of financial aid.  Other auditions may be just for acceptance into the institution.  Others may be a combination of both.  Whichever the case, it is incumbent upon you to give the best impression.

Different schools have their own audition requirements (certain solos, scales, etudes, excerpts, resume', letters of recommendation, etc).  Be sure to check this out well in advance so you have adequate time to prepare.  You will probably audition for the major professor along with other professors from the brass faculty.  On occasion, members from another part of the music discipline may also be there.

The faculty understands that auditions are stressful.  They want you to do well.  They are wanting to find the right talent that will help contribute to the program.  Thus, they are not only focusing in on your performance, but the total package, appearance, decorum, etc.

This brings me to another area of focus.  Attire and attitude.  This is an important day for you.  You have decided to make the initial plunge into a professional career-training school.  Treat this as a job interview.  Dress well.  A slovenly/casual appearance may not put you at the best advantage, especially at institutions where enrollment is very selective.  Ragged jeans with holes, bare midriffs, the Gothic look, and the like will not serve you well.  You may disagree, you may not like it, but it's a fact...take it to the bank!

You may be asked questions during the audition process.  Do not be alarmed, as this is one way for the committee to know a little bit about yourself.  One word of caution:  You must remember that you are there auditioning to be selected to be admitted into the school.  Consideration for Financial Aid is NOT a forgone conclusion.  Please do not waste your time and the school's time to shop around for the best "financial deal."

Different schools have different financial constraints.  To be sure, good talent will be rewarded (when funds are available).  However, a Jerry Macquire "Show me the money" attitude will turn off ALL members of the committee.  I cannot tell you how many times I've seen it happen.  Remember, colleges are not in the position to subsidize your education.  They may be able to help in some way, however.  Some colleges are more generous than others (they may be more DESPERATE than others, too), especially in the areas of horn, double reeds, and viola.  You may very well indeed receive a full tuition scholarship from a smaller school (but do they even have a horn teacher?)

Lastly, what is the best thing for you to play?  Some schools may not require a solo with piano accompaniment.  If you do play solo literature without the accompaniment, play something that will stand alone, melodically.  Such literature are classical concerti by Mozart, Haydn, Rosetti, as well as Strauss #1, and the last movement of the Beethoven Sonata.  Solos such as Hindemith do not work well without accompaniment.  Any etudes from your All-State audition list is usually good fare.  In addition, if you are involved in Youth Orchestra, perhaps some well known excerpts (Tchiak. 5, Brahms 2, Brahms 1, Frank D-min.) may be in order.

In this installment, I will attempt to help the reader differentiate between the various collegiate options one may have in pursuing musical training.  All observations are mine and are meant to be totally non-judgmental.  No inference of superiority should be taken.

Collegiate study of music can be done at the various types of institutions:

1. "Big Name" Schools which have an international reputation
2. Conservatories of Music
3. Large State Universities
4. Smaller State or Regional Universities
5. Private Schools
6. Liberal Art Schools

Each of these may offer particular advantages for the student, depending of the particular interest of focus.  As you are looking for prospective schools, you need to ask yourself some questions concerning music study.  Primarily, what part of the music profession holds your interest?  (Performance, Music Education, Composition, Arts Management, Medicine, Law, Computer Programming/Software etc.)

At the undergraduate level, the only degree program that really does qualify you for employment is the Bachelor of Music Education.  Thus, it is the only professional degree program available that will
enable/certify/qualify you to be hired.  Thus, it is a degree program that you can immediately have success in gaining employment (provided you know your stuff and can present an excellent image at a job interview). At present (in many areas of the country) there is a definite shortage of music teachers, especially REALLY TALENTED ones.  In fact, the teacher shortage will be felt soon as public schools are experiencing severe overcrowding. The curriculum of a BME degree is the most extensive, being that it is a professional degree.  However, the broad base of knowledge garnered will also allow you more flexibility in career moves.  Some collegiate searches will indeed look to someone that may have either a BME or some sort of teaching experience in schools.

Performance degrees do not certify/qualify graduates for employment.  In performance, there ARE no guarantees.  You may be a truly outstanding player, but in the performance field you may be competing for a position with someone 10-20 years your senior.  In this competitive field, employment is possible, but not without much trial and error.  Performance degrees only certify that, for your particular institution, you have passed all academic and performance requirements.  Performance degree requirements and training will vary significantly from each of the six categories listed above, as well as from institutions within each category.  Being that this degree is a single faceted degree, you are essentially one dimensional.  Hopefully at the end of your undergraduate studies, you have gained proficiency to be accepted into a performance program at a higher level, or you have indeed been able to secure employment.

Some institutions offer innovative programs combining musical study with other disciplines.  This is especially of interest if you wish to be in the music business in areas other than performance and teaching.  Someone may wish to pursue this type of degree even though the ultimate interest is in performance.  This way, one's employment opportunities double. Your outside music curriculum may equal your course load in the music area, or may even be a little more, depending on the outside discipline.  The advantages of this program are 1) most entry-level orchestras may not be full-time (or even pay a self-sustaining salary), thus you have an outside area of expertise with which to make additional money.  Also, if your orchestra is on strike, this sure makes finding quality employment MUCH easier.

No matter which degree program you feel is right for you, keep your options open.  For instance, if you truly wish to perform and abhor the thought of teaching (or else really can't stand children), stay away from the BME!  Don't sign up for this degree so you can "fall back on teaching" if your performance career doesn't work out.  Please, do the profession a favor and stay away!  We certainly don't need more people in the field who don't like teaching.

Likewise, if you are in the education program, don't accept anything less than your personal best.  You have no idea what may transpire in your career over the next decade.  Strive to become the best performer/musician you can be.  You owe it to yourself and you certainly owe it to the people that you will eventually teach.  How hypocritical is it to have a low work ethic during your training years and suddenly become hyper-demanding of your students.  You need to live the lifestyle..."walk the walk" before you "talk the talk."  In addition, nothing precludes you from being a competitive player.  In auditions, the most qualified person is chosen.  This is without regard to their degree program.  It has been my experience that some of the most talented musicians graduate with education degrees.  I qualify this because the majority of my experience is associated with state universities.

Once you have decided on what type of degree, or facet of the music industry you wish to pursue, you should decide on schools that offer excellent training in those areas.  Some schools are better in performance while others are more known for their outstanding teacher training programs.  Some institutions excel in several areas.  You should make a list and start asking these institutions for information.  At the same time, you would be well served to set up a visit so you can meet with advisors, teachers, and the like.

One of your primary concerns in choosing a school is finding out how enrollment is handled.  For instance some schools are EXTREMELY selective (only 1-2 openings per year), competition is keen, thus the hand-picked students are the "cream of the crop."  Others may have limitations according to grade point average, performance ability, etc.  Also some schools, especially large ones may adopt "the more the merrier" attitude.  With this, often undergraduates and graduates may be thrown into the same performance school.  Thus, everyone is competing with one another, regardless of age/level.  I call this the "Survival of the Fittest."  However, for one going into performance, this is more of what it is like in the real world.

Next, let's look at schools in each of the above categories:

Big Name Schools offer instant name recognition.  This association assumes an automatic assumption of quality.  However, unless you have worked diligently throughout your academic career, this name recognition (and even references) will not get you very far.  Often the teacher with whom you will want to study has an established national/international reputation.  Remember many others are wishing to study with these people, as well.  Certain teachers have much more demand than there is time available, thus in order to study with a particular person, you will be put on a waiting list.  Sometimes you may be on the waiting list for years.  It is very important that you find this out.  If you are lucky enough to study with the main person, get it in writing!  It is agonizing to attend the school and find out that your first several years of study may come under the guidance of someone else (at times, even a graduate student).
 

Conservatories of Music

Conservatories are usually smaller, more selective institutions.  These schools may also afford good name recognition.  The primary thrust of these schools are the training of orchestral musicians, conductors, and
composers.  Some are exclusively for undergraduates, others may include graduate students.  Enrollment in each area may be limited.  Smaller, private schools may also fit into this category.  The music study is
usually as intensive as it is in the preceding category.  The teacher may or may not have a national/ international reputation.  Performance opportunities should be at a challenging level with some variety, but usually with an emphasis on orchestral training.  As with the preceding category, the applied teacher will usually be a recognized name or have held a position within a noteworthy performing ensemble.  Some conservatories have more than one applied teacher per instrument, thus the instructor of your choice may have a waiting list.  If multiple teachers exist in the institution, you should make acquaintances of both individuals.  If you have a particular desire then you need to approach the specific person in private and request that you be put on the waiting list.  Several conservatories encourage rotation within the studios.  This can be an added bonus.
 

Large State Universities

Usually these institutions have large comprehensive programs with education, performance, composition, history, and theory emphasis for disciplines.  You will be associated with a much larger, diverse population of music students.  This may afford you opportunities and experiences that you may not find in some of the other categories.  In addition to orchestral training, you will get experiences in either wind ensemble or some sort of larger symphonic band.  This is essential if you are looking toward a music education degree.  Historically, these institutions live off the enrollment of education majors.  The usual percentage is 75% education 25% performance.  Also, these large institutions will offer graduate degrees (masters and doctorate). Horn professors at these institutions may have international reputation, but certainly will have national or regional recognition that will help you make contacts into the professional realm upon graduation.  Research institutions offer more variety, an interest, in special courses that may interest you.  The performance level at these schools may closely rival those in the above categories.  Performance opportunities may also yield a high variety of experiences for you.
 

Smaller State/Regional Universities (Colleges)

These smaller schools often may have balanced programs.  However, they may not be as comprehensive as the major state school(s).  An orchestra program may/or may not be in existence.  Band experiences should be the same as in the preceding category, but may not be of the same caliber (however I have seen some extremely fine programs at such schools).  The talent pool, is smaller which may give one a little more opportunity to perform without the intense pressure as found in the above categories.  If you are somewhat motivated, but do not want the intense pressure/competition found in the above categories, such institutions may appeal to you.  Such institutions may have a full-time horn teacher, but there are many that have part-time horn professors.  Few may even have a high brass (or even a single brass) specialist with whom you will study.  The main thrust of these schools is in teacher education, though performance majors may be in evidence.  Also some may offer other creative degree programs that combine music study with other disciplines.
 

Private Schools

Various private schools may also fit into categories 1-2.  Such school may be smaller and exclusive.  Some may have a religious affiliation, which may or may not have any bearing on your choice.  Some private schools may offer study with a major soloist/orchestral performer who is hired full-time.  Others may have lessons with an adjunct (part-time) teacher who comes in only to teach horn lessons.  Usually the major performance opportunities are limited to band and orchestra (however some private school are much more comprehensive).  Some students enjoy the exclusive "feel" of such an institution, giving one a tight bond between the students and faculty.  Degree programs vary according to the thrust of the department; some being more performance oriented, others more education oriented, while others more liberal art oriented.  High academics are usually stressed.
 

Liberal Arts Schools

These are usually smaller, more exclusive schools than either of the other categories.  Usually these are private schools and afford the same advantages.  Usually the curriculum is more diverse and the academic
expectations are quite high.  People who attend such institutions enjoy the creativity and intellectual stimulation of a varied course of study.  Performance opportunities may be limited, or else groups have smaller enrollment.

Thus, these are some of the choices awaiting you as you prepare to choose where you want to spend your collegiate career.  I have attempted to be unbiased in each of the categories, stressing those elements that may be of interest for you.  To be sure, no one school may fit exclusively into one category.  Hopefully, this will help you think and to allow you to make your initial contacts.  When contacting a institution, you need to write 1) the horn professor, 2) the scholarship/admissions chair of the music division, and 3) the admissions office of the institution.
 

Other factors:

Look at the success rate of the graduates.  Where are they?  What are they doing now?  Also, are the students serious about what they are doing?  Is it known as a party school?  What is the safety factor on campus, town, city?  Are there outside cultural events?  Are there outside (special opportunities) for performance or employment?  Are there avenues of support for travel to competitions or festivals?

To be sure, each school has its own advantages and disadvantages.  If anyone tells you otherwise, then they are not being truthful.  It is not necessary in many cases to go clear across the country to go to a "name"
school.  I have adjudicated at many competitions and have been astounded at the breadth of talent found across the country that stands up to the level of the most prestigious institutions.  If you are truly motivated and you find a teacher that you can develop a bond of trust and rapport, you should be well on your way to the road of success.

Undergraduate school is the place to develop.  There are many hundreds of fine institutions across the US that will fit the bill.  For those who wish to pursue graduate study, it is then that you need to start being very selective as to your choices.  Those interested may read my article on "Selecting a Graduate School."

Have you and your parents write down questions.  When you go for your visit, ASK QUESTIONS and LOTS of them.  You are looking to spend 4-5 years of your life in your studies (as well as a significant amount of tuition), you and your parents should be afforded every opportunity to have your questions answered to your satisfaction.

Best of luck to you all!
Dr. Eldon Matlick