Klarinet Archive - Posting 000143.txt from 2001/01

From: Neil Leupold <leupold_1@-----.com>
Subj: [kl] Re: community bands & clarinetists
Date: Thu, 4 Jan 2001 07:42:34 -0500

--- rkabear@-----.net wrote:

> I especially dislike playing behind someone who plays BADLY, but has the chair
> because of their time in the band. I really believe the only way to keep bands
> like that fresh is to have chair assignments (or at least section assignments)
> by periodic audition. Parts can be rotated too, for variety. There is no in-
> centive to practice either, thus further hindering the sagging performances.
> Any thoughts?

You make a potent point, something with applicability beyond the realm
of community bands. In today's job market, retension is an enormous
issue for HR departments, and they must contend with keeping employees
happy enough to stick around for more than a couple of years. Organi-
zations with the worst turnover rates are often the same ones guilty of
failing to address employee happiness beyond the monetary compensation
package. "Quality of life" pertains to much more than the size of a
paycheck. In a community band, where monetary compensation is more
often not even a viable issue, the organizers need to examine the fac-
tors which influence the "quality of life" for their musicians. If a
band musician feels either undervalued or under-challenged, their moti-
vation for sticking around drops precipitously. As was drilled into us
in managerial econ classes, one must "align the incentives with the de-
sired outcome." Some players don't care about which part they play --
they just want interesting music. Others are ambitious and desire the
opportunity to rotate within the section. Another might feel a time
crunch and desire the option to attend only every other rehearsal. The
range of motivations is potentially broad, and there is no catch-all
solution for issues of satisfaction and retension with an organization.
Also, attitudes are contagious, so even if a player is generally happy
with their experience in the ensemble, their attitude might still turn
south if they are acutely aware that others are not. Who would have
thought something like a community music ensemble could be so complex?
When you're dealing with human psychology and emotions, things are never
as simple as they might initially seem.

Personally, I'm so extremely happy to be playing on a regular basis, it
doesn't bother me that I often find myself playing second chair to some-
body with a tin ear and elephant fingers. These are community orchestras
in Manhattan. The level of musicianship is twenty notches below anything
I experienced in music school, but the repertoire is "the real thing." In
one group, the principal clarinetist is among the worst I've ever heard,
and he has that chair because his wife is the personnel manager. I know
I can play more capably than he can, but I receive so much appreciation
from my colleagues and the conductor, for playing my own part well, that
there is no nagging sensation of being jilted. Plus, I'm allowed to skip
rehearsals if I need to, but still play the concert. I'm valued, stimu-
lated, artistically satisfied, and free to be flexible with my time. These
are groups that understand how to retain their members.

-- Neil

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