Additionally, Todd Coolman, Harry Pickens, and Don Braden all turned in performances during the week that transcended even extraordinary levels. Good solid technique and working knowledge of theory are expected and honed. Unfortunately, a few problems dampened my enthusiasm for the week. All players are auditioned for placement in master classes and combos. A fine idea in theory, the idea fell apart in practice.
Auditions consist of playing a few scales in front of an instructor and sight reading a piece.
While this may be the accepted method of conducting saxophone contests in the academic world, it produced wildly uneven results. It was not uncommon to see 9th graders, retired big band players, and gigging musicians in the same master class or combo. While there's an argument to be made for mixed groups as an asset to the less experienced players, this situation shortchanges experienced players who find themselves listening to advise in dealing with your band director when you get home. Another problem was Jamey Aebersold's incessant sales pitches. Although I wholeheartedly endorse Aebersold playalong CDs as practice tools, I didn't pay several hundred dollars to have Jamey Aebersold tell me how wonderful they are, or to practice with them at camp.