By Mark Camphouse
Editor’s Note: This is an excerpt of advice for college-bound music majors from a full article by Mark Camphouse that appears online at www.bands.org. Tell your students to visit www.bands.org/network for Mr. Camphouse’ full article which includes “General Advice for All College-Bound Seniors.”
While serving as guest conductor with all-state, all-regional and other miscellaneous high school honor bands throughout the U.S., I always try to fit in a 15-20 minute discussion session with band members (not always easy given rehearsal time constraints!). This affords them an opportunity to direct questions to me about their hopes, fears and dreams of their upcoming college careers…as music majors or (and every bit as important in my view) non-music majors.
For those non-music majors seeking financial incentives to continue to play, there are quite often at most colleges and universities, talent-based band scholarships available for gifted and dedicated players majoring in anything from biology to special education, or criminal justice to sports medicine. And yes, there may even be band scholarship opportunities for those who declare a major in that increasingly popular major called undecided!
Specific advice for college-bound music majors
Be sure the college, university or conservatory you select is a good ‘fit’ for you in terms of institutional size, mission, location and environment. There is no substitute for an on-campus visit. Make a real effort to speak directly with students during your visit, not only faculty and staff propagandists!
Occasionally re-evaluate your reasons for wanting to attend college, specifically as a music major. Do not major in music because you think you ‘like’ music or you ‘like’ band. That is simply not enough. You must be hopelessly in love with music in every way!
With regard to audition repertory, find out if the institution at which you are auditioning has specific/required pieces. Consult your private teacher or band director. A good general rule to follow is to have two prepared works (concerto, sonata, etude) of contrasting nature. If concerti or sonatas, these should, ideally, be from two different periods in music history, i.e. one from the Baroque, Classical or Romantic periods, and one from the 20th century.
If you prepare etude (please be sure they have some modicum of compositional merit!) they should also be contrasting in nature . . . one slow and lyrical, the other fast and more technique oriented. Audition evaluators generally adhere to elements pertaining to The Three T’s: tone, technique, and time, i.e. pulse stability and rhythmic precision. Memorization is usually not required for instrumentalists, but if you present a work from memory exceptionally well, this can really enhance your audition.
Students hoping to major in composition should present a portfolio of their works which must demonstrate evidence of creative ability. Recordings of readings and/or performances of your compositions can be a nice addition to your portfolio, but are usually not required. Having good, clear manuscript/ notation skills is extremely important. Good piano skills are absolutely essential for all composers . . . young, old and in between!
Don’t put all of your eggs in one basket. Give yourself some options. Don’t be overly disappointed if you are not accepted by your first choice school. Apply and audition at a minimum of three schools. During my final year of high school, for example, I was accepted as an applied trumpet performance major at The Curtis Institute (Philadelphia), New England Conservatory (Boston) and Northwestern University (Evanston, IL). As prestigious as Curtis and NEC were (and still very much are!) I remain convinced I made the right choice in attending Northwestern, primarily for these two reasons: 1) I had the opportunity to study privately with two of the world’s finest orchestral trumpet players and brass pedagogues: Vincent Cichowicz at Northwestern, and Adolph Herseth, via a Chicago Civic Orchestra scholarship. 2) I received a world-class general education at a truly great university along with my musical studies in the NU School of Music. It proved to be the best of both worlds! So, determining the level of excellence of faculty specialists together with the quality of the school’s overall academic program must always be among your top priorities in selecting a college.
Becoming extremely proficient on your principal instrument must be a top priority. However, acquiring some functional ability in basic piano skills (ideally prior to college) is extremely important. Piano skills (even the most basic and fundamental) will prove to be enormously helpful with your other music classes, especially those in music theory and aural skills. I truly believe the piano is the real bedrock of musical knowledge.
Your (required) courses in theory, music history and aural skills are in a way just as important (and sometimes more so!) as applied music lesson preparation. And remember, the finest applied music teachers very frequently make the student aware of vitally important ‘connections’ with your lesson material in the studio, and your classroom work in theory, history and aural skills. Of course this all ‘comes together’ during ensemble rehearsals.
Do not become a music education major “as a back-up.” Good grief, I abhor that mentality and it causes serious damage to our profession! Simply stated, we need music educators who are first and foremost excellent musicians who also have a passion for teaching. Period!
Take your non-music (general education) courses seriously. You may find (as did I) some of your general education classes to be the most enlightening, challenging and ultimately important courses you take in college. Be careful to not lock yourself in a practice room all day. My advice to someone who calls a practice room home for more than fours hours per day: get a life! Two hours of intensive, well-focused practice per day is far more valuable than four hours of aimless rambling.
The college years will be among the richest and most positive you will experience. Important seeds will be planted which will hopefully enable a blossoming of life-long artistic, intellectual and personal growth and discovery. Good luck, work hard, and enjoy!
A product of the rich cultural life of Chicago, composer-conductor Mark Camphouse was born in Oak Park, Illinois in 1954 and received his formal musical training at Northwestern University. He began composing at an early age, with the Colorado Philharmonic premiering his First Symphony at age 17. His works for wind band have received widespread critical acclaim and are performed frequently here and abroad. Mr. Camphouse has served as guest conductor, lecturer and clinician in 36 states, Canada and Europe. He is an elected member of the prestigious American Bandmasters Association and serves as coordinator of the National Band Association Young Composer Mentor Project. Mr. Camphouse is Professor of Music and Director of Bands at Radford University in Virginia. He is married to soprano Elizabeth Curtis. They live in Radford with their twin 14-year-old daughters, Beth and Briton.
