Klarinet Archive - Posting 000424.txt from 1996/02

From: "Gregory T. Wright" <103147.1471@-----.COM>
Subj: Switching Instruments
Date: Thu, 15 Feb 1996 04:46:09 -0500

Shelley,
Before my 9th-grade year, the director called me and said, "Greg, we nee
d
a tuba player." My major instrument is sax, and at the time I didn't read bass
clef - it was a HUGE change. I worked at it, and found that it didn't matter
very much WHAT I played, as long as the MUSIC taught me things.
I am a music teacher now. I have been to Europe twice to play (once in
HS, as part of Blue Lake in Bavaria's Jazz band [baritone sax], Choir [tenor
voice] & Brass choir [tuba]; and once in a London, UK, New Years' Day Parade
[alto sax player in Northern Michigan University's Marching Band]). I have
written music for various groups (not professionally as yet).
Is it all because of a phone call, long ago? No, BUT IT SURELY HELPED!

Should students have input into any switch? Of course. Should directors
raise their blood pressure working with inherently unbalanceable groups, when
the solution is available? No way.

Enough fire & brimstone. Before I finish, think of one other thing in
this question: Perspective. Your job is to produce gorgeous organized sound,
likely encompasssing a range very nearly that of the human ear. (When listening
to the highest, quietest notes perceptible, the eardrum vibrates _less_ than the
diameter of a hydrogen atom. How? I have no idea.) In order to do this, you
have a crew of X people, BUT YOU MAKE NO SOUND OF YOUR OWN. If you have ever
stood next to a computer while a newbie tries to send e-mail or use a new
program for the first time, you have an inkling of th frustration. Any
solutions which make the sound better are good solutions FOR THE GROUP. If the
group makes better sound, the players will make better sound.

Enough stuff.
Gregory T. Wright
GTWright@-----.com