Brass Excerpts


Knowing the scores accelerates your progress in the practice room. Do not expect to win a professional audition without studying the music.

“We live in an era where music schools are pumping record numbers of
outstanding performers and composers into an oversaturated workforce.”
David Cutler
Director of Music Entrepreneurship at the University of South Carolina
Source: Cutler, David. The Savvy Musician: Building a Career, Earning a Living, & Making a Difference.

“Adding to the problem is our continuing production of increasing numbers of music degrees, now more than thirty thousand
American collegiate degrees a year, in a field where there have never been many jobs but where there are now fewer each year.”
Robert Freeman
Former Director of the Eastman School of Music
Former President of the New England Conservatory
Former Dean of the College of Fine Arts at the University of Texas at Austin
Source: Freeman, Robert. The Crisis of Classical Music in America. Rowman & Littlefield Publishers, 2014. p. xvii.

“This is an extremely difficult profession to succeed in. There are so many musicians and conservatories; it’s gotten more and more crowded, with the same number of opportunities. When I became principal cello of the Pittsburgh Symphony, I was one of four people invited to audition. By the time I auditioned here [San Francisco] in 1976, there might have been 100 people who applied for the job. Now, we might have 300 people—who all went to school, who have qualifications, who have experience and are good. The odds have really changed.”
Michael Grebanier
Principal Cellist of the San Francisco Symphony Orchestra
Source: Flanagan, Robert J. The Perilous Life of Symphony Orchestras. Yale University Press, 2012. pp. 64–65.

“Nepotism is a myth. All audition committees are totally impartial.
No one has ever won a job because they had connections.”
R. L. Roy
Long Tone Apostate
Source: A 21st-Century Musician


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