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Klarinet Archive - Posting 000043.txt from 1997/09

From: Karl Krelove <kkrelove@-----.com>
Subj: Re: A student's multiple questions
Date: Mon, 1 Sep 1997 22:57:38 -0400

At 11:06 AM 9/1/97 CST, Michael Connolly wrote:
> The people that annoyed me were the
>ones who: (a) borrowed _his_ A clarinet, therefore not representing what
they'd
>actually be able to play at a concert, or (b) ignored the direction and
played
>the material in Bb, and were not disqualified or in any way demerited for
it. I
>turned out to be the only applicant who actually tried to transpose the
music.
>
> The question: Is this just my bruised ego talking, or was this not fair?
>
>
> I thank you for your time, and hopefully someone will answer these
>questions.
>
Michael,
These questions are very well thought out and well expressed. My
reaction is that if some others did as you've said that you are well
justified in being indignant. This isn't just bruised ego. It was unfair.
Probably all you can do is learn from the experience, because you aren't
likely to get anywhere by reacting to the orchestra administration. In fact
they could easily black-ball you from ever joining the orchestra if you
make enough commotion about it. Some lessons you can take from the experience:

1) Auditions are inherently unfair because, regardless of how strictly the
judges follow their own rules, the audition conditions are NEVER the same
or even particularly similar to real performance conditions. This audition
sounds as though it was more unfair than most, but we're dealing in
degrees, not absolutes. You can be angry, but take the unfairness as an
unavoidable part of the process and figure out how you could honorably have
gotten a better advantage than you had this time.
2) If you're serious about orchestral playing, you will always need to deal
with A clarinet parts one way or another. Buying someone's used instrument,
if you can afford it, may make life even in a youth orchestra easier.
3) Transposition is a useful skill even for a commercial saxophonist. I
don't know how many times I've been on a job where the only "fake book" was
in C, or where the only one I had on my stand was a Bb book for tunes that
the leader wanted on alto. There is also the problem of C clarinet parts,
which you are much less likely to solve anytime soon by buying a C
clarinet. Bass parts in A are another example. You can practice any
transposition on any instrument you play.

There are probably other lessons, but I'm writing this at 11:00 PM and
tomorrow's our first day back to school. Hope it gives you some useful ideas.

   
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