Klarinet Archive - Posting 000095.txt from 2009/07

From: Walter Grabner <grabnerwg@-----.com>
Subj: Re: [kl] doublers - help!
Date: Mon, 20 Jul 2009 12:55:57 -0400

Dave McClune says:

"As for the '20s music, play long tones in the key and chord structure
of the music. I tend to ignore idiot directors and do what is
professionally required of me. If they continue to be a pain, I just
do not play for them again."

Ha Ha. Great comment Dave. I'm right there with you!

Walter
www.clarinetxpress.com

On Mon, Jul 20, 2009 at 7:36 AM, David McClune<dmcclune@-----.edu> wrote:
> I get to the hall an hour or more early and assemble each instrument and =
move them to the stands. =A0The warm up of the body happened at home earlie=
r that day and at the hall I am simply checking each instrument to make sur=
e there are no mechanical glitches. =A0Since doubling implies playing on co=
ld horns anyhow I do not worry about compulsivly warming up each horn. =A0H=
owever...I do put the top joint of the oboe and the barrel on top joint of =
the clarinet down my shirt. =A0I let body heat =A0warm up the instruments t=
o reduce the risk of cracking!
>
> As for the '20s music, play long tones in the key and chord structure of =
the music. =A0I tend to ignore idiot directors and do what is professionall=
y required of me. =A0If they continue to be a pain, I just do not play for =
them again.
>
> Dave
>
> Dr. David McClune
> Professor of Woodwinds
> Director of Bands
> Union University-1862
> 1050 Union University Drive
> Jackson, TN 38305
>
> Office-731-661-5294
> dmcclune@-----.edu
> www.mcclunemouthpiece.com
>>>> MICHAEL MARMER LINDA MARMER <mlmarmer@-----.net> 07/20/09 7:01 AM >>=
>
> Maybe the performing group could perform the pre show 1920's music?
>
> Mike
> ----- Original Message -----
> From: "Walter Grabner" <grabnerwg@-----.com>
> To: <klarinet@-----.org>
> Sent: Sunday, July 19, 2009 9:52 PM
> Subject: Re: [kl] doublers - help!
>
>
> I have played many shows where it was difficult getting into the pit,
> past the other instrumentalists, and avoiding tripping all over the
> wires for the stand lights.
>
> Trying to walk in all at once, carrying say, a clarinet, a flute, a
> tenoro sax, and a bass clarinet, is a prescription for disaster.
>
> I have usually arrived early, set up the instruments in place, stored
> all the cases backstage, then warmed up quietly, and be ready fifteen
> minutes before curtain.
>
> I do agree that extended practicing, playing cadenzas, etc. are out of
> place in front of the audience.
>
> Anyway, that's my objection to warming up backstage.
>
> Walter Grabner
> www.clarinetxpress.com
>
> On Sun, Jul 19, 2009 at 6:05 PM, Karl Krelove<karlkrelove@-----.net>
> wrote:
>> What the director isn't getting is the extra complication of multiple
>> instruments. The singers undoubtedly *do* warm up - backstage - while th=
e
>> twenties music is being piped in out front. No doubt in a community show
>> the
>> director may not be especially aware of any problem he's causing. The
>> brass
>> players, assuming they aren't doubling, probably don't feel the problem =
as
>> acutely, either.
>>
>> You say in your original post, "Our conductor has received more than his
>> share of grief from the director and says that he has to 'choose his
>> battles' and that in the long run he'd lose this one anyway." Does this
>> mean
>> that the issue hasn't even been brought up to the director? Before anyon=
e
>> considers quitting over this, the director needs at least to be aware th=
at
>> it's a problem.
>>
>> In the end, if the issue has at least been brought to the director's
>> attention without getting a workable accommodation, you have two choices=
-
>> find a way to live with it or don't play. If the director refuses to wor=
k
>> with you, he (she?) won't be the first community theater director who ha=
s
>> overplayed his authority and damaged a community organization's
>> cohesiveness
>> (from the sound of it, he/she has already made the pit conductor feel
>> disrespected) in the interest of showing his/her more elevated sense of
>> art.
>> Maybe next year's director will be more sensitive to the world that exis=
ts
>> beyond a foot away from his nose.
>>
>> Karl
>>
>>> -----Original Message-----
>>> From: josh stein [mailto:jstein53@-----.net]
>>> Sent: Sunday, July 19, 2009 3:49 PM
>>> To: klarinet@-----.org
>>> Subject: Re: [kl] doublers - help!
>>>
>>> of course musicians need to warmup like the singers in the show. if
>>> the
>>> director does not understand that one needs to warmup before they start
>>> playing the real thing, than the director is a moron.
>>>
>>>
>>> ----- Original Message -----
>>> From: "Rich Gordley" <rgordley@-----.net>
>>> Subject: [kl] doublers - help!
>>> >
>>> >>OK gang, I need some opinions on a ridiculous situation.
>>> >>
>>> >>I'm currently playing a run of "Hello Dolly!" with a community
>>> >>theater. This is a volunteer gig which means the musicians get
>>> >>treated worse than usual. Last night we were told that we can no
>>> >>longer warm up in the pit because the director wants to play 1920s
>>> >>(?!) music over the speakers in the auditorium while the patrons are
>>> >>arriving.
>>
>>
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