 The Clarinet BBoard
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Author: ET
Date: 2002-08-27 12:26
After not playing for many years, I have been playing in a community group for the past year and a half. I have a good tone but find that I need to work on technique and sight reading. I compensate for my weaknesses by almost never missing a rehearsal and making sure I practice my parts. The other clarinet players may be better sight readers and better at technique but they often miss rehearsal and don't practice their parts. As a result, they make many mistakes during our performances.
Another clarinet player showed up at our last rehearsal. There are no auditions. We shared a stand on one part. All in all, I did not think she played any better than I did. At best, the differences were marginal. Moreover, our conductor played piano during the run-through and obviously wasn't paying much attention. On the next piece, our conductor handed her a second part and gave me a third.
I felt very insulted that I was automatically assumed to be inferior to a random stranger who answered an ad to join the group. Especially when I have shown above average diligence for the group. Am I overreacting to be offended?
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Author: Morrigan
Date: 2002-08-27 12:45
NOT AT ALL. I think it's unfair also, but look at it from this perspective: it's all in the attitude. These players probably aren't that much better than you anyway, but they make it look like they are because of their attitude. So try to have a killer attitude and you may get a promotion!
On the other hand, no-one likes cruddy 3rd players; you're probably doing such an excellent job, your conductor doesn't want to move you!
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Author: Ralph G
Date: 2002-08-27 13:33
Why do 3rd parts get such a bad rap? For too long school bands have relegated their no-good players to the back of the section, giving all 3rd part players an undeserved stigma that they stink. Playing those parts requires as much musicianship as playing 1st part, if not more, since you have to know your place in the ensemble and fill that role. 1st parters just have to noodle around and play the melody. Harmonizing properly and providing the foundation for the melody is tougher, IMO.
Also, don't read anything into it. Some community bands are notoriously relaxed in their seating makeup. The summer municipal band I play in is made up of about 25% professionals from the local union and 75% volunteers. We acknowledge the one union clarinet guy as 1st chair, so every week he shows up he sits there. After that, it's whoever shows up to rehearsal earliest gets to claim the next seats. This summer I've played 1st, 2nd and 3rd parts, depending on how early I got there. And I can play rings around everyone but two or three people in the section.
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Author: William
Date: 2002-08-27 14:41
Personally, I am never offended as I consider all parts important to the whole and try to play my part as good as I can. I take personal pride in being the best player at whatever part I am assigned and try to be as much as leader from last chair as from the first. It's like in math, the whole (and quality) is only equal to the sum (and qualithy) of its parts.
However, you should also keep in mind that the farmer always greases the squeeky wheel first. As in "getting the gig", it's often as much who you know (and who hears you) as what. The combo of quality and politics is the best partnership for success.
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Author: JMcAulay
Date: 2002-08-27 15:00
ET: Surely you are aware that the third Clarinet part is as essential as the first. Unless you are the Principal and playing solos, your participation as a third Clarinet player is just as important as any other Clarinet player. You don't know why your director placed you there? That should not be a problem. If you want to know, you might ask.
Perhaps the director believes you have better command of the lower notes played predominantly by the third Clarinets. It is not uncommon for parts to be assigned in this way. I once had a friend who was a perpetual fourth Horn player. His command of the lower range of a French Horn was amazing, and he played that part very well.
If you are there to enjoy playing, then enjoy playing, no matter what number is at the top of your music.
Regards,
John
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Author: BeckyC
Date: 2002-08-27 15:11
ET, I have a story similar to yours......almost but not really. :O)
I show up for the very first day of the New community band here in Texarkana right on time. (I should have been early, but I couldn't leave work earlier than I did, and pick up my friend) But because I was the last Clarinet to show up I was seated in the last chair as 3rd clarinet. There were 11 clarinets in all. I am hoping that more will show up in time. There were no auditions. I know that All parts are very important and the Director even exclaimed that at last nights practice. I don't mind 3rd parts at all, I like 2nd parts too......and of course 1st. But I take what I can get. I just know from listening and watching the reaction of at least two of the other 3rd players up from me that they are not as experienced or as "practiced" as I am. I guess its just the stigma of being the last of the last that bothers me. But it shouldn't. I KNOW what I am capable of playing. So ........Stronger we become as we overcome. ??
Oh.......I AM enjoying the Community band very much.
Love it.
Becky
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Author: bob gardner
Date: 2002-08-27 15:12
he may feel that the 2nd and 3rd are about equal and didn't give it any thought. whatever
i found 3rd very hard to play--too many weird notes.
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Author: William
Date: 2002-08-27 15:22
For BeckyC--again the need for an equitable audition policy or rotating seating practice is highly recommended for your new community band. It is always easiest to "get it right from the start." Good luck!!!!
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Author: Ralph G
Date: 2002-08-27 16:18
Want proof that 2nd and 3rd players are as important as 1st?
Get a recording of "Entrance of the Gods into Valhalla" from the opera "Das Rheingold" by Wagner (I recommend the Sony Essential Classics recording by the Cleveland Orchestra/Szell). Listen to the clarinets carry that majestic melody from about midway through to the triumphal fanfare. Is any one of those clarinets more important than the other? Would even the great Marcellus (presumably playing the upper part) sound musical if he didn't have the other clarinets playing in perfect harmony with him?
If I were sitting in an orchestra today and that piece were plopped in front of me, I'd armwrestle the rest of the section for the privilege to play something other than the upper part.
(BTW, I've never even seen the sheet music to this. How many clarinets are there in that part? Sounds like three to me.)
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Author: ron b
Date: 2002-08-27 16:57
Can't answer 'cause I'm not you, ET. Speaking for myself, I wouldn't be offended because when I participated in community bands I did so for the pleasure of playing and the social aspect of it. I played whatever part needed to be played. I'm considering playing next season, for the pleasure of it and the social aspect... whatever part they may give me is the one I'll do my best at
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Author: Blake
Date: 2002-08-27 17:28
The community band I'm in has an interesting way of addressing this issue. We sit in 3 sections.. Folders "A, B, C" and on any given piece we play either first, second or third parts and we have players of all skill levels on the folder. If there is a major solo, we have auditions for those that want to play them. At first, I was skeptical. I had always been in bands where the 1st's were the better players etc. One of the things Ive grown to appreciate playing first, second and third parts is the following: Second parts are tough... usually in the clarion range, the back and forth over the break many of the parts have is challenging. Third parts very often double other parts and it develops your ear listening and blending with sections youre not used to. Part of the beauty of the clarinet is the sound it produces as a section.. a richness you only get when you have an instrument with the Eb/Bb Alto and Bass. That really becomes apparent to us when we have clarinet sectionals. I know at first some of the more advanced players balked at playing 2nd or 3rd parts.... but when you hear the total effect, I think they will start thinking as a section rather than as an individual jockeying for position. It's also a good use of their knowledge to have them help with alt. fingerings and other tips. Hope this helps. Blake Arlington, VA
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Author: Katfish
Date: 2002-08-27 18:07
ET; Some tips on moving up in the section. Continue doing what you are doing. Don't complain. Play out with confidence. You may not feel comfortable doing this when sight reading, but at concerts, play strongly. Don't sneek into entrances,count your rests and come in loud ( within reason ). You won't move up if you play timidly and no one can hear you.
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Author: diz
Date: 2002-08-27 22:52
I used to play in a community orchestra (it now, unfortunately, no longer exists). The then Music Director insisted that all players attend all calls or they were never asked back. As the group had a very high standard this was not a problem. The wind players in the orchestra were rostered and never played the first or second parts exclusively.
There are even some modern works for clarinet choir which are equally challenging for all the parts (just ask the Upper Canada Clarinet Choir!). Enjoy what you do, do it well, and don't worry about the flakes.
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Author: David Pegel
Date: 2002-08-28 01:52
As for the "squeaky wheel gets the most oil" syndrome, just remember that the squeaky wheel is also the first to be replaced.
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Author: Ralph G
Date: 2002-08-28 02:58
But usually only if it keeps squeaking after repeated greasings.
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Author: BeckyC
Date: 2002-08-28 03:30
Diz, I totally enjoy what I do. But who said anything about dandruff?
lol
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Author: diz
Date: 2002-08-28 03:33
BeckyC - you're obviously "generation X" and, therefore, have no idea what the quaint 70s term flake means? (kidding)
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Author: BeckyC
Date: 2002-08-28 03:36
Oh....yeah I understood......I just couldn't help myself!!
lol
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Author: Sandra F. H.
Date: 2002-08-28 12:56
Obviously, the conductor has a good 3rd player who knows the parts, and the 2nd section is weaker. He needs someone on 2nd, and why should he move is reliable, practiced 3rd player?
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Author: David Dow
Date: 2002-08-28 14:21
I myself am the Section leader of a local community Band which I have been in some 20 years now...anyways the main problem with this particular group is we have such a wide variance of levels and styles of playing(some jazz..others amateurs) that it amzing that we are able to play together at all. Surprisingly,
our attendance is quite good in the summer and then fall it slacks off. to make matters trickier we have alot of older members and so we can actually lose a player on a key part to death. this band is one of two bands that play regularly and the other is a part time militia band with a more milatary stlyle.
I have also tried as a Board Member to instigate player drives and even auditions which I know some BB people hate...but I feel that if they are serious about joining a band then one should hear what one is getting. Also, due to the fiscal restraints on our group we really have to be careful. We derive all our revenue from donations and public performances. This year will be our 100th anniversary...however back to topic we have not allowed players to do concerts who haven't been at rehearsal...generally we are pretty strong on clarinets and weak on brass and other pretty good on tuba and somewhat heavy with the saxophones. This band is part of a thriving tradition in Atlantic canda, and 50 years ago we had about 5 community bands like this one. In Nova Scotia there is also quite a few of these groups. If you are ever in Saint John NB you can look us up....in our band we allow guests to visit or play with us unless we have a concert. As far as Community Bands are concerned though I think all players should attend especially in the times coming up to concerts and no exceptions should be allowed. these are more leadership problems then things individual players should worry about...although players missing rehearsals and making mistakes in the concerts are a real annoyance! Sincerely D Dow
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Author: ET
Date: 2002-09-05 06:31
Thanks for all of the feedback. I agree that a section should be balanced and that playing the 2nd or 3rd part can be equally challenging. The particular work involved was not for a band but was a clarinet trio for a chamber music concert. The third part is not any more challenging than the second part. While there are many different philosophies of seating in a section, this conductor ascribes to the best on first, worst on third school of thought. Which is why I interpreted his assignment of the third part to me and the second part to a newcomer as an insult. Moreover, he just glanced at us, paused, and handed me the third part. Hardly consistent with any supposition that he thought I had an outstanding lower range or that the third part required a better player than the second.
Perhaps I do need to brag about myself more. The newcomer seemed to be a bit over aggressive on that account. Prior to joining this orchestra on Bb after a long hiatus, I had played Eb exclusively for 7 years where I was the only Eb player in concert bands. One of the unsung virtues of playing Eb is the freedom from petty section rivalries and from the politics of seating.
I am still mulling over what, if anything, to say about this. I think the conductor needs to be aware that his seating decisions can have a tremendous impact on morale and that he should not demote a player without substantial reason. I also feel like he just assumes that the mistakes in performance are mine when I know that the other players didn't practice and are fluffing the part. He is new to conducting an orchestra so I think some of it is just carelessness or insensitivity. But it just makes me feel like I should quit. Why give up so much of my time if my diligence is so unappreciated?
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