Klarinet Archive - Posting 000238.txt from 1996/06

From: Gene Keyes <gene@-----.NET>
Subj: Re: Instrumentation concerns
Date: Sat, 15 Jun 1996 14:38:27 -0400

>hi Mike.............In case you missed the earlier postings, I too am a HS
Band, Jazz Band Director and free-lance player in the NYC area, and have
been one for longer than I care to think about.
Maybe I see the problem a little differently. Next year, I'll have a HS
band with 30 flutes, 25 assorted saxophones and a minimum of low brass.
Unfortunately, I can't worry about what about what my colleagues think. I'm
going to spend most of my time trying to make this group work. By the
time a kid has reached HS it's very difficult to make changes in what
instrument a student plays....it sometimes works, but that's the exception,
not the rule. Also, what do you think the effect the overall musical
experience on the entire group will be if you have 15-20 kids in that group
starting new instruments? BTW....It's those same colleagues (whose opinion
you are worried about) that have given me this instrumentation to work
with.......I still think the important issue is what kind of experience we
give to our students and what do they come away from our programs
with................../gk

In regards to Gene's comments,
>
>As a public school band director I have seen all sides of the
>instrumentation issue.
>I have seen the flute craze of the Jethro Tull years. In recent years I
>have walked into a class of 30 with 25 students interested in playing alto
>sax (This is no exaggeration). Thanks to Kenny G, I presume. If MTV had
>trombone groups on the channel you would see a trombone craze (unfortunately
>this will probably never happen). The point I'm leading up to that it
>doesn't do anyone any good to have a "glut" certain instruments in a band.
>Public education is the first goal but your can't have 15 saxes and 1
>trombone in your band and have any respect from your colleagues. More
>importantly, everyone else suffers from a substandard musical experience.
>The saxophone player that would normally excel at another instrument has a
>poor chance for future advancement in a big school district like ours.
>Recently we hired a new beginning band instructor. In her adjustment period
>she started 15 oboes in 5 schools. That was great except no thought was
>given to what happens when these students reach 1 junior high school.
>
>In closing, I am used to a few parents a year taking me to task over the
>instrumentation issue. You get it in two ways: 1. The attempt to balance.
>2. Trying to put students on instruments they are suited for. We give an
>aptitude test to check to see if a student has a good sense of pitch for
>instruments like oboe, french horn and a school tuba. It also isn't to any
>one's advantage to put a kid on percussion that has little sense of rhythm.
>By using the testing process, knowing what kind of student you have,
>checking physical characteristics, taking the students choice into
>consideration, and last balanced instrumentation. The student will be more
>happy then letting them automatically play what the had as a first choice.
>Why?? They will be successful.
>
>Concerning the jazz issue
>
>I am a clarinet player that wanted to be able to teach jazz. I learned how
>to play tenor and did a good job soloing on soprano sax. A horn player can
>easily play a trumpet as a secondary instrument. Baritone and trombone is an
>easy switch for example. The learning how to double is an education in
>itself. A working clarinet player should be able to play sax and flute.
>This is a good way to begin to learn.
>
>People tend to be critical of the band director but there are many issues
>that aren't known by parents or students. I hope I brought some of them out.
>
>Willing to take the heat......
>
>Mike Moors
>
>
>
>At 09:01 AM 6/15/96 -0400, you wrote:
>>Thanks Adam............perhaps more band directors should realize that their
>>first responsibility is to teach and involve their students. We'e talking
>>about a public school program...........not music majors in a University
>>setting and not a professional musical organization. There are too many
>>band directors who put their concert programs before the needs of their
>>students. It's kind of like the coach who has to win at all costs.
>>
>>So what if the the balance is not absolutely perfect or if the sound is not
>>precisely what the the composer intended. Have you ever seen a parent walk
>>out of a program because there were too many saxophones in the band? The
>>musical expeience could still be rewarding. You don't nurture interest and
>>participation by telling a student that there is no place for him or his
>>instrument. If there is a way to do it, you make a place for a kid like
>>this and encourage him. Let's keep in mind what PUBLIC SCHOOL EDUCATION is
>>all about. The performance is not the sole reason for the existence of a
>>school music program.......it provides motivation (for student and teacher)
>>and ideally should be an outgrowth of what goes on in the
>>classroom.............gk
>>Gene Keyes
>>gene@-----.net
>>
>>
>
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> / O | mdmoors.northland.lib.mi.us
>
>
Gene Keyes
gene@-----.net