 The Clarinet BBoard
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Author: dennibrink
Date: 2015-01-12 22:35
My daughter has been playing clarinet for four years and she has a private lesson tutor. Every year she has been selected for region band. The last two years she has also qualified for Area.
For Texas ATSSB Region 10 she recently placed 9th. Last year she was ranked 12th. Recently for Area she placed 23 out of 36.
My daughter is in the 10th grade. She has R13 Buffet with Vandoren 5RV Lyra mouthpiece and prefers DAddario Reserve Classic 2.5 reeds.
She practices most every day (depending on severity of homework) with 1.5 hour lessons on the weekend. She attended UNT ClarEssential 2014 workshop and Lamar University Band Camp 2013. She wants to attend UNT ClarEssential 2015 workshop this summer.
My question is what is the most significant issue that separates the average from exceptional (top 10%) high school clarinetists? Is it articulation, intonation, or something else?
Feedback would be helpful in best formulating an effective music study plan.
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Author: TomS
Date: 2015-01-12 23:06
IMHO, reliability ... in all those areas that you mentioned.
An amateur musician plays a rehearsal or concert and is not sure what will happen.
A professional musician plays a rehearsal or concert and KNOWS what will happen.
A pro usually plays with some reserve, and usually doesn't push to the limit, therefore not journeying into the land of uncertainty, and tarnishing their reputation.
Occasionally, on some tryouts, the jury will have the musician play a really difficult passage more than once ... just to see how consistent the playing is, and make sure that if it was played well the 1st time, it wasn't just a fluke.
Slowly make technical haste! (Practice slowly until it is right.)
Tom
Post Edited (2015-01-12 23:09)
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Author: dennibrink
Date: 2015-01-13 00:04
Thank you for your response.
From a developmental standpoint what predominately defines a top 10% high school clarinetist?
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Author: TomS
Date: 2015-01-13 01:02
I think that a good "tone" is probably what people notice first, and can be the hardest thing for some to achieve. You will hear some players that have unlimited technical prowess in articulation and fingers, but lacking in IMHO, a good sound. It also seems that tone and tuning are closely related.
I should have just said "tone" in my 1st post, rather than ramble about reliability. I'd rate tone (in it's beauty and consistency throughout the range of the clarinet) #1.
There are many more out there that can answer much better than I ... world class players read these posts ... more should respond.
Just my 1 1/2 cents worth.
Tom
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Author: WhitePlainsDave
Date: 2015-01-13 01:14
"What predominately defines a top 10% high school clarinetist?"
Let me try to give you an objective answer. Attributes like ability to play pieces of certain difficulty, sight read to a certain level, and ability to play scales of varying degrees of sharps and flat, including often minor scales and other variations thereof are often the kinds of things tested by a State's Music Association.
Not living in Texas, I might recommend you get in touch with the Texas Music Educator's Association http://www.tmea.org/, which if it's anything like my NY State, is done through the High School music teacher.
For example, in NY, where I live, there are 6 levels of difficulty and one must audition at the highest (level 6) level to be considered to be part of an All State Music Group. I would say the people simply auditioning at Level 6, let alone those accepted, are probably considerably higher than the top 10%.
NYSSMA (NY State School Music Association) probably has metrics on what percentage make an All State Group, and I'll guess it in the ballpark of the top 2%.
So perhaps our level 4 and 5 (of 6), and their requirements represent the cutoff for the top 10%.
I want to guess that Texas as a system not highly unlike my State's that can answer that question.
Oh--the one thing that seperates the average from the exceptional, there is no one thing. But if I had to give one I'd say "disciplined tenacity"--a stick to it mentality using proper technique, combinged with an attitude that does not accept no for an answer, and a willingness to put in lots of quality time to get better.
One of my teachers, a virtuoso, wore down the right hand mechanism on his clarinet for his 1st 3 fingers, that's how much time he spent praticing. Genius is where a fair amount of talent potential comes in the same person with willingness to work their tail off to get better, in the presence of a good instructor.
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Author: tylerleecutts
Date: 2015-01-13 01:51
(Currently a college student)
For incoming freshmen in college, the first thing I notice is tone, then technical evenness, then articulation. Having true evenness in your technique is crucial and really separates players. Some players may have a gorgeous sound, but cannot play evenly. Work on tone quality, evenness and quality of articulation. Your articulated sound should be the same as slurred.
Post Edited (2015-01-13 18:10)
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Author: dennibrink
Date: 2015-01-13 01:55
I have learned the matrix for good clarinet performance entails sound production and musicality.
Sound production is the delivery of consistent air stream and articulation. I would assume above average high school clarinetist are more skilled at tonguing.
Musicality is voicing the compositional objectives of character, style, phrase, dynamics, and rhythm. I would think the nuances of phrasing and style would also be indicative attributes along with the skill in playing challenging tempo patterns.
My daughter competes in a geographical defined area that encompasses 173 high schools. It is estimated over a thousand clarinetists are in the area. For her area she placed 23.
Zero feedback is provided. We're left in wonderment asking is it articulation or rhythm performance that defines the difference between average and exceptional.
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Author: dennibrink
Date: 2015-01-13 02:22
Thank you for your response. Texas is very proud of their music education program.
The big schools under TMEA all compete at the 5A level. Smaller schools fall under ATSSB where 2A, 3A, and 4A tracks are available. My daughter attends a 4A school.
Small schools have significant resource limitations. It is remarkable how much responsibility a small school band director has in both marching and band development. Marching season in support of football takes half of the school year.
How students find time to complete academics and schedule music instrument study time is difficult to answer.
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Author: maxopf
Date: 2015-01-13 04:59
As a high school clarinetist, the things I notice in other clarinetists when I'm playing in an ensemble with them are (in no particular order order - it's all important):
Musicality/phrasing/musical awareness (knows where they fit into the music and plays in the correct style), mature/steady tone, doesn't rush/drag/compress, clean and precise articulation, technical ability, tuning, confidence.
Confidence is especially important - there are many clarinetists in my band who rarely play above a mezzo forte and seem to avoid being heard. They're consistently seated last chair. The more confident, strong players who aren't afraid to play out when the music calls for it (within reason, of course) are consistently seated in higher chairs.
Of course, I'm in no way perfect in any of these categories, but I've at least reached a level where I know what I'm listening for in my peers.
And yes, it's very hard to find time to do homework and study music. I'm certain that if I had less work I'd be infinitely better than I am now, but unfortunately school teachers don't typically take "I needed more time to practice yesterday" as an excuse for not getting homework done.
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Author: pewd
Date: 2015-01-13 05:25
We now have a 6A category - the largest schools are classified 6A.
Things I look for at regional auditions:
1. Correct notes. - there should be zero wrong notes.
2. Rhythm
3. Tone
4. Everything else.
1 & 2 are show stoppers - its very disappointing to hear auditions on etudes that have been worked on for 4+ months, with wrong notes or rhythm errors. If I hear 1, or 2 wrong notes, ok, the student is nervous and a finger slipped. But any more than that, or a flat out wrong rhythm, indicates the student is not serious and has not prepared the piece. After about the 4th or 5th error, I stop listening, and put a very low score on the evaluation sheet. Another problem area is tempo - if a piece is marked qtr=112, I won't give a very high score if I hear it played at 80.
Then once past wrong notes and rhythms, we want to hear a good, solid, characteristic tone, with correct articulation, and, correct articulation technique.
All the other areas we study are important - dynamics, tempo, articulation, phrasing, etc., but wrong notes and rhythms, or poor tone or tuning, are the biggest challenges for most high school students.
I would also point out that the regional/area/state process is good at identifying students who practice a lot, and usually memorize the audition etudes ; which is not the same thing as developing all of the other musical and technical skills needed to master a clarinet.
- Paul Dods
Dallas, Texas
Post Edited (2015-01-13 05:28)
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Author: brycon
Date: 2015-01-13 05:46
Quote:
My question is what is the most significant issue that separates the average from exceptional (top 10%) high school clarinetists? Is it articulation, intonation, or something else?
It seems as if you're really asking two questions: "What separates the average from the exceptional?" and "What does it take to be successful in Texas all-state band auditions?"
Exceptional musicians aren't always justly rewarded in the all-state audition process. Furthermore, I don't really know what your daughter needs in order to move up into the 10% range (her teacher should), so I can't really offer any advice on becoming exceptional. I can, however, tell you what it takes to be successful in the all-state band audition process.
When I was in high school, I did very, very well in the Texas all-state band auditions. I didn't have a marvelous sound (though it wasn't bad), and I wasn't profoundly expressive (who really understands music in high school?). But I did have great technique and rhythm.
For the most part, your daughter's adjudicators will be band directors--who could be bass trombonists or bassoonists--and maybe a few private lesson teachers. Members of the panel may not have an opinion of what an ideal clarinet sound is. And unless someone's intonation is quite bad, they may not notice if the player is out of tune with his/herself.
They can tell if someone has good rhythm and natural technique. The players who do well in all-state auditions are not always the most exceptional musicians, but they almost always are the ones with great technique and rhythm.
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Author: Wisco99
Date: 2015-01-13 06:18
People who are "exceptional" at something usually are very gifted and very driven. In music, the music comes first in their lives, and everything else is secondary. I am speaking of the finest players in the world. Being exceptional can be a curse. If your daughter wants to truly be exceptional, her social life, family life, and grades would not matter. She would have a tunnel vision approach to life, and playing at the very highest level is almost like an addiction. I have seen it destroy many musicians in so many ways.
What is wrong with being "average?" Balance in life is important. Be careful what you wish for, it might come true.
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Author: kdk
Date: 2015-01-13 06:29
pewd wrote:
> We now have a 6A category - the largest schools are classified
> 6A.
>
> Things I look for at regional auditions:
> 1. Correct notes. - there should be zero wrong notes.
> 2. Rhythm
> 3. Tone
>
> 4. Everything else.
>
I've been reading this thread wondering to myself what its point is - I actually don't find the top 10% of any group to be exceptional.
Students who play the right notes and the right rhythms with a good tone are certainly to be commended, but they are not exceptional. They are good players. They are well-taught players. They will be assets to any ensemble they are accepted into. Students who can't play the right notes and haven't been taught to play accurate rhythms should probably not be auditioning at all for a truly high level adjudication - they are guarranteed to place poorly. When I judge an audition, many of the students who play can do the notes and rhythms with good tone quality, give or take a nervous slip. They aren't the top 10% - they are a larger part of the group than that. Then there are the ones who, as Paul complains, haven't prepared seriously and are just coming into the audition hoping. There are those exceptional ones at the other end of the continuum who can't manage to get anything right from the very start - I end up feeling sorry for them because someone has almost certainly forced them into an audition situation they know they aren't prepared for and nerves have made a mess of what little they were able to manage in their practice rooms.
We've all (those of us who have judged auditions) heard kids who seem challenged by any scale that isn't C Major. But the ones who play Ab Major perfectly aren't exceptional - they're *supposed* to be able to do that.
An exceptional student can go beyond the basics of notes, rhythm and tone. The exceptional player comes into the room and, despite nerves and even an occasional slip, can make convincing music, can play dynamics that are part of a thought-out, integrated shape, not isolated changes made because it says so in the print. The exceptional kid plays staccato passages with a palpable character, not just a series of short notes because there are dots over the note heads. The exceptional student has internalized the music to an extent that is audible to the judge/audience.
There are (by definition) very few exceptional performances at student level auditions - sometimes none and certainly not 10% of the students who audition. To be an exception is to be to some degree unique. Everyone else who auditions well is just some variety of good.
Karl
Post Edited (2015-01-13 11:36)
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Author: Wisco99
Date: 2015-01-13 09:28
I gave this question more thought, and the one truly exceptional musician I worked with, someone who was almost from another planet was a big band drummer....Buddy Rich. His parents were in Vaudeville, and at age 1 1/2 years he was put into the act as a drummer. He closed the act. By age 8 he was on Broadway, and was the 2nd highest paid child star in the country. He could also dance, sing, and did not read music. He would listen to a piece once and have it down, know exactly what to do where. He was a genius. He was also very unstable, had no normal childhood, yet he played at a level that was beyond anyone else...even as a child. He was truly exceptional, but it is what I call a good curse. There is a price to be paid. You cannot put someone like that into a catagory, or judge him as you would anyone else. If you gave him music for a contest to read, he would fail, yet everyone was in awe of him. He was truly exceptional.
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Author: Wisco99
Date: 2015-01-13 11:24
This defines what is truly "exceptional." He was just born that way.
https://www.youtube.com/watch?v=n7EbDkzPm3k
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Author: dennibrink
Date: 2015-01-13 13:14
Thanks for your input Tom.
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Author: dennibrink
Date: 2015-01-13 13:20
Sound production is important. Good clarinetists are able to consistently deliver, with an effective embouchure, a steady stream of air to produce with fidelity rich woodwind timbre.
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Author: dennibrink
Date: 2015-01-13 13:26
Indeed it is challenging to be a successful musician and academically perform well in class. My daughter is an A/P student.
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Author: dennibrink
Date: 2015-01-13 14:05
Thank you for your response.
Dallas ISD has an impressive reputation. Consistently the school district produces excellent musicians.
Often I hear complaints about the arbitrary subjectivity of the judging and in some cases judges who lack creditable instrument specialty experience. I tell my daughter ignore that and just focus on learning how to play great music. It is her passion to attend college and complete a degree in music studies.
The judging form is rather basic. The form just list the final score for the performing etudes. There are no breakdowns listing sound production and musicality scoring. I wonder how the judges can be consistent in their assessments.
It would be a better process if ranking did include performance criteria breakdowns like for example: articulation, intonation, and rhythm.
For the three Rs learning objectives and pedagogy are better understood. Students taking a math test are better informed what are the expectations than a high school musician performing for auditions. I am perplexed on how band students are graded when there are no exams and performance tests.
I am not musically trained. However, when I listen to a live performance I can intuitively identify the better performance. I think music education in high school should provide the intellectual knowledge why a performance is better.
What are your thoughts?
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Author: dennibrink
Date: 2015-01-13 14:26
Thank you for your input.
There has been a lot of attention focused on what is exceptional. I apologize for the inference that average is not good and exceptional is marginally better.
Good is good. Special is special.
I should have asked what is the performance criteria for a high school musician to be selected for All State.
To make All State is a laudable achievement. To me there is a higher goal of purpose: to make music study and appreciation a lifetime interest.
Unfortunately, there are too many All State high school musicians who graduate and never play again.
The love of music is not about the obsession of achieving perfection and disregarding the virtues of nature and humanity. Rather when correctly learned, music can empower us to be better in all aspects of life.
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Author: dennibrink
Date: 2015-01-13 14:39
My take away is great technique and rhythm.
Technique can be broken down into articulation, fingering, and embouchure. The better musicians are more skilled in musically voicing legato, staccato, and vibrato.
Rhythm is not just replicating movement, but the differentiation in performing intricate tempo patterns without detriment to sound fidelity.
The selected etudes will have a tempo range for example 80 - 92. If one student performs a rhythm tempo of 80 while another does it at 92 does the faster rhythm score higher?
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Author: kdk
Date: 2015-01-13 16:59
dennibrink wrote:
>
> I should have asked what is the performance criteria for a high
> school musician to be selected for All State.
>
Ah! Thank you! That's of course a completely different question.
> To make All State is a laudable achievement. To me there is a
> higher goal of purpose: to make music study and appreciation a
> lifetime interest.
Yes, absolutely!
> Unfortunately, there are too many All State high school
> musicians who graduate and never play again.
>
> The love of music is not about the obsession of achieving
> perfection and disregarding the virtues of nature and humanity.
> Rather when correctly learned, music can empower us to be
> better in all aspects of life.
Can you spare some time to talk to our School Board? The music teachers have been saying this to them forever. They (and others like them) need to hear it from their constituents, the parents. They don't believe the educators.
Thanks for the clarification.
Karl
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Author: dennibrink
Date: 2015-01-13 17:52
Karl,
The kinetics of music is undeniable. When music is allowed to be a medicinal agent in the daily human experience the consequences are beneficially incalculable. Personally, I think music education should be a core K-12 requirement with proficiency in piano.
No denying STEM education is important. However, for the 21st century the dominance of left-brain thinking will surrender to the ascending importance of right-brain cognitive skills.
With the advances of technology, ironically society will need not more technical workers, but instead capable employees who can think creatively and possess the soft skills to work collaboratively with others. Music education has significant influence on the proficiency of right-brain thinking.
The best attribute of music is that it is extremely healthy for our mind, body, and soul. With music there is no stress, discord, and conflict. In a world with the love of music humans are more able to find peace, kindness, and cooperation.
In the classroom students are taught how knowledge can be productively applied. It is time we all learn how the application of music is a smart choice.
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Author: Wisco99
Date: 2015-01-13 19:46
dennibrink, I am completely confused. You started this topic with a question addressing the difference between "average and exceptional." Those were the key words. You then said: "I should have asked what is the performance criteria for a high school musician to be selected for All State." And then you left several postings telling what should be important, and your one above this has absolutely nothing to say about either average and exceptional or your revised question of criteria for school musicians to be selected for All State. You address STEM, left brain, right brain, and why piano should be a K-12 requirement. I have absolutely no idea anymore of what your real question is. It is difficult to respond to a question when it no longer is a question or topic. Do you have a question here?
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Author: Philip Caron
Date: 2015-01-13 20:42
Thanks to Wisco99 for the Buddy Rich link.
Both intuitively and based on some posts in this thread, I'd guess the top 10% of competitors will roughly equate to those with the top 10% of practice time spent. In my opinion, except in rare cases of genetic advantage or disadvantage, total time spent is the determining factor - all the other attributes tend to follow from that.
I have listened to a lot of music over the years, and my ears have always perked up to exceptional performers, and I also enjoy reading about them, and even though dennibrink didn't actually mean to discuss that topic, he mentioned it, so here's a couple of my observations about the exceptional ones.
Exceptional musicians tend to be laws unto themselves; their performances make standards, other conceptions, and other experiences largely irrelevant. They rarely sound like anyone else. They were not taught to do what they do. Their playing tends to be easy to criticize from some perspective or another. They always have some combination of performing attributes that are unique and typically amazing, even transcendent. They usually arouse intense enthusiasms, pro and con. They often seem to be complicated people, more driven and less happy. I suspect they spend their time and energy on music not so much because they want to as because they have to. I suspect their genesis lies as much or more in genetics and external situations as in their own choices.
The exceptional never fit neatly in. I've long imagined that some of the "out-of-the-box" greatest virtuosos fall awry of the pitfalls of life somehow and fail, and then spend their days in meaningless occupations and their evenings alone. It may be preferable to be "merely" a top 10 percenter.
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Author: dennibrink
Date: 2015-01-14 00:12
My question I admit was poorly stated. I feel bad for causing any confusion. Yes, as I have participated in the threads of responses I realized my original question need revising.
Now, let me ask in the context of high school band performance, what are the defining attributes that separate the good from the average?
For auditioning high school and middle school Texas musicians zero feedback is provided. Consequently there is a cloud of mystery on what is required to make all state selection.
Surprisingly many of Texas' students do not have private lessons tutor and band directors for variety of reasons are unable to provide sufficient guidance to the musicians to understand what is required to do well in the auditions.
My goal in raising this question was to add clarity and better understanding what the reasonable expectations and realistic goals for high school musicians to grow and develop their music skills. All the responses have been helpful in facilitating my understanding.
Yes, I admit in the discussion my responses were not always on topic. What about this posted question resonates most with you?
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Author: TJTG
Date: 2015-01-14 00:21
You cannot plan ahead perfectly for any seating. My teacher, John Bruce Yeh, had me participate in a masterclass/competition where everybody would play Three Pieces by Stravinsky. His own student from about 20 years ago was the judge. John remembers teaching him Three Pieces when the judge was his student. Surprisingly, the judge contradicted EVERYTHING Mr. Yeh had to say. None of John's students made it to the final round.
You cannot predict every judge. Some people think missing any note is a derogatory mark. Some judges take into consideration the whole performance and then write down the score. Some people really want to see all the expressive markings on the page, some are more lenient.
You can practice all you want, and really be the best *musician* in the lot (whatever "best" means), and not even be given the time of day.
Practice, do whats one the page and then some, and hen let it go. State Honor band means nothing in the 2 years following high school. Participate, and try. There is no answer to this. The top 10% of the kids in honor band are a mix of the top 30% of players. Everybody has good and bad days. There is no one set of things you can work on, you have to be a well rounded musician.
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Author: Wisco99
Date: 2015-01-14 00:36
Tim summed it up very well in his comments above. The only things that I can add are try to make music out of the notes on the paper, and the most important thing is to have fun playing music. If you are not having fun what is the point? I once judged a high school jazz band contest with one other judge. We awarded the prize for best musician to a girl in the trumpet section who was just having a ball playing the music. It was written all over her face, body, and exuded from her. She was a bit shocked when she was named, but we took a few minutes to talk to her to explain our decision. She did play well, but her enthusiasm and pure joy of playing the music is what set her apart.
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Author: BflatNH
Date: 2015-01-14 01:20
Great discussions, and a question I ask is, what is the time line here? Short (1-2 Yrs), medium (college+), long (rest of life)? Each would have different recommendations.
Also, I would like to hear from the daughter, and let her tell us (via mom) what she wants and thinks.
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Author: dennibrink
Date: 2015-01-14 02:46
At the high school level I would want the adjudication process to be better understood. I see some students get traumatized and worst case quit music.
Interesting how some of the posted responses assert All State finalists are actually not the peer best in musical ability. That doesn't speak well to the credibility of the process.
Music study is tough endeavor. Like a long distance runner rewards are few and infrequent. Having transparency in the assessment process I believe is the right thing to do for the welfare of aspiring young musicians.
My daughter is very level-headed and unfazed by the enigma of auditioning. She approaches the experience by preparing the best she can and trying to turn the events into learning opportunities.
My only concern is when it comes to college admission will the bias for All State unfairly limit her choices. Having a concrete study plan (like SAT preparation) is ultimately I believe what is needed. If she is able to achieve the freshman college performance objectives who cares if she made All State?
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Author: Wisco99
Date: 2015-01-14 03:23
I may get attacked for this, but solo and ensemble contests and all state bands are a business. They pay people a good salary to run these programs, adjudicators are paid, music is sold, fees are collected, and money is involved. It may have a noble purpose of instilling competition and getting students to practice a piece, and be evaluated, but there is money involved in virtually all aspects of it. It is a business.
SAT scores, class rank, high school grades, and entrance requirements are at this point in time used to determine acceptance to a college. I hesitate to mention it, but this topic is once again shifting direction. It started with one question, then another question was presented as how you should have asked it, and now it has evolved into criteria for being accepted at a college. If your only concern is college admission as you just said, why have you introduced two totally different topics and questions prior to this point? I think this needs to end. The topic and questions continually keep going down different roads. Perhaps your daughter should ask any questions she has.
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Author: dennibrink
Date: 2015-01-14 03:50
Yes there are tangential spin-offs to the posed question. I agree the discussion has reached its maturation point.
Yes, there is the influence of profit. No system is immune.
The logic is clear. Like bread crumbs or stepping stones with a clear path for achievement goals have a better chance to be obtain.
For example:
- Ability to produce good tone
- Ability to play complex rhythm patterns
- Ability to play stylistically
- Demonstrate skill in musical literacy
My daughter wants to progressively succeed in her band, her region, her area, state, and finally college. Understanding what it takes to reach all those waypoints is what the original question is all about.
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Author: kdk
Date: 2015-01-14 04:07
Wisco99 wrote:
> I may get attacked for this, but solo and ensemble contests and
> all state bands are a business. They pay people a good salary
> to run these programs, adjudicators are paid, music is sold,
> fees are collected, and money is involved.
Well, it depends on the organization. The state Music Education Associations certainly have paid administrators and staffs, but in Pennsylvania (PMEA) and my area of Bucks County (BCMEA), as local examples, adjudicators at the auditions are not paid - they are MEA member music teachers from the area covered by the county, district, region or state festival ensembles and volunteer their time (or are coerced).
Karl
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Author: Wisco99
Date: 2015-01-14 04:42
dennibrink, The logic of your logic is not clear, at least to me. It is very illogical. My take on this entire rambling discussion has been a forum for you to express your views on many different subjects, and keep changing the topic. The subject has never had a chance to mature because it keeps being spun off in new directions by you and has become a waste of time. It is time to stop.
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Author: brycon
Date: 2015-01-14 05:12
Dennis,
Email me if you'd like more info. I grew up in Texas and taught in the Houston area for a couple of years; I feel as though I know the system well and could help (without upsetting the self-appointed forum police).
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Author: JHowell
Date: 2015-01-14 09:41
No, all-state placement will have no bearing on college auditions. The teachers listening to those auditions will make their own decisions based on their own criteria. With regard to the initial question, I think of a phrase in the book "The Talent Code." One of the characteristics of an exceptional performer was stated to be "the rage to master." As one researcher put it, "If you have to ask if your child has the rage to master, he doesn't."
FWIW, it might be a good idea to identify a couple of schools your daughter might wish to attend and try to arrange a lesson with the teacher(s) there. Your daughter's current teacher may be doing a great job, or might be missing something.
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Author: BobD
Date: 2015-01-14 17:31
Obviously and simply......the person.
Bob Draznik
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Author: dennibrink
Date: 2015-01-14 18:01
Tom,
Thank you for your input.
Regarding tone I have read there are different styles. Some prefer a more closed and tight sound while others prefer a more open tone.
Internationally, there are very distinct tone identities between Germans, French/Italian, Asian, and United States clarinet musicians.
I have been told my daughter has a open tone. She told me that some criticize this tone style.
In your opinion how does tone bias influence peer review at the high school level?
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Author: dennibrink
Date: 2015-01-14 18:02
Tyler,
Thank you for your response.
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Author: dennibrink
Date: 2015-01-14 18:12
Karl,
Thank you for your input.
There are costs involved. The adjudication is an all day affair consuming many hours and long traveled commutes. Often it is a challenge to get sufficient judges to complete a five member panel. All these can have a qualitative impact.
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Author: dennibrink
Date: 2015-01-14 18:18
Thank you for your input.
It is very satisfying to hear that All State successes does not have discriminating consequences for college acceptance.
Thank you for the good suggestions.
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Author: dennibrink
Date: 2015-01-14 18:28
Thank you for your response.
I agree confidence is important. The advice I hear is to play aggressively. Obviously to play without inhibition it takes mental fitness.
Performance anxiety is not easy to overcome. Clearly the birth of confidence comes with the diligence of preparation and the familiarity of experience.
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Author: dennibrink
Date: 2015-01-14 18:42
Great response that definitively explains the attribute of exceptional. I agree there is a paradox to the beneficiary of exceptionalism.
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Author: dennibrink
Date: 2015-01-14 18:47
Fun should always be a welcomed companion in any endeavor.
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Author: Wisco99
Date: 2015-01-14 18:50
dennibrink, Do you have a question here? People have tried to stay on topic, given good advice and information, but I have to be honest and say that you continue to ramble on. Directly above are 6 posting in a row you have made. I do not wish to insult you, but looking at everything you have posted and lectured on here I have to question your mental state. I get the feeling you want to continue these ramblings as long as you can and have the clear feeling you really do not have a question or topic you wish to discuss here. You seem to have a problem, and have some issues you need to deal with.
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Author: dennibrink
Date: 2015-01-14 18:51
There is nothing wrong with being average. I agree sometimes in life there are regrettable imposed either/or paradigms. For happiness and contentment it is best to have the stability of balance.
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Author: dennibrink
Date: 2015-01-14 18:55
I apologize if I have wasted your time. The time you have shared is very much respected.
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Author: dennibrink
Date: 2015-01-14 18:58
The timeline has the waypoints of high school and then college music development.
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Author: dennibrink
Date: 2015-01-14 19:00
Thank you!
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Author: Mark Charette
Date: 2015-01-14 20:18
Ok dennibrink, you've had your fun with your strawman. Thread closed.
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The Clarinet Pages
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