 The Clarinet BBoard
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Author: WhitePlainsDave
Date: 2016-06-25 20:35
What do you say to a student that’s frustrated with a wind ensembles in which their talents aren’t being recognized?
Background
I’m fortunate to volunteer work with a particular student who, like many of my students, has a talent/money ratio that’s remarkably high. These students, many of which attend[ed] NY City’s Performing Arts (i.e. Celia Cruz) Magnet High School in the Bronx (http://www.ccbxhsm.org/) have made extraordinary progress despite having learned on lousy instruments with little outside or inside of school instruction, prior to testing into “Cruz” after middle school education, and getting them on decent instruments and study thereafter.
Lack of money for lessons is often the least of their worries as they sometimes come from “less than perfect” homes.
Situation
The clarinetist in question has remarkable ability and drive. She reminds me of the stories of Drucker, wondering why she isn’t assigned the entire etude book a week rather than just a few select etudes from it. Given her ability and some connections I have, I got her involved in some summer wind ensembles, but given her newness, she's assigned “back of the bus” roles.
You and I know there’s no dishonor in that; the notion of “there are only small musicians, not small parts” can ring truer for adults, but she can play circles around players with greater tenure seated ahead of her. This frustration became painfully apparent when attending, as promised, one of her concerts where their “top player” soloed on a piece performed as poorly as she can play it flawlessly, from memory.
So—what do you say? Here’s some of what I’ve tried:
“Sweetie…”
• Performance, like life, is not fair. The music directors were made aware of your talent but feel more obligations to more tenured players than pure ability. Some day you will be old and don’t want your seat given to a younger player who can play circles around you. (This of course is a hard sell in such a meritocracy as music, let alone to a young adult.)
• All sections need to have good players. Knowing the 3rd parts have coverage too is important to the directors.
• Music directors run [benevolent] dictatorships, not democracies. (This too is a hard sell because she’d have no problem with a dictatorship based on talent.)
What else can I add that remains motivational?
Post Edited (2016-06-25 20:37)
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Author: clarinetguy ★2017
Date: 2016-06-25 21:50
Dave, congratulations, and a big salute to you! You are a good and caring person, volunteering your time in the way you do.
I can relate because I spent many years teaching in a large urban school district where most students couldn't afford instruments. Private lessons were an extreme rarity. I could go on and on about the tremendous challenges, but instead, I'll focus on the students who did amazing things in the face of overwhelming odds. I'll never forget an extremely talented fifth grade flute player who played at an advanced middle school/early high school level.
It was wonderful that you helped get your student into summer wind ensembles. I think your responses to her are good. You might also add that assigning chair positions can be extremely difficult, especially if all the players are highly talented. If she keeps working hard and playing well, showing up early and projecting a positive attitude, she'll be noticed.
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Author: fskelley
Date: 2016-06-25 22:24
I second the salute to your efforts for deserving students who might not otherwise get quality instruction.
And I have not much to offer for words of wisdom. It is good to point out to her that what she is experiencing in a music performance setting will happen in many other life situations. One of the benefits of such opportunities is getting acquainted with the rough edges of life, and how to accept and deal with them (or challenge when that's a good idea, and maybe how to know the difference). But it is still difficult. Perhaps this is more important to her than the music, in the long run.
Some of the saddest people to watch are those who never learned these lessons early on and are clueless how to face them in jobs, marriages, and such.
Stan in Orlando
EWI 4000S with modifications
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Author: Ursa
Date: 2016-06-25 23:02
Dave, my sincere compliments on fighting the good fight here--bringing the myriad benefits of arts education to where it's most desperately needed. I tip my cap to you.
Should a lessons student come to me in such a situation, I would have this to say: At the end of the day, it's all about the music. Play the part in front of you with as much excellence as you can muster. Listen critically and take very careful notice of the harmonic complexities that your part is contributing to the sonic presentation. Put yourself in the listener's chair--are you absolutely confident that your playing is having the effect that the composer intended?
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Author: WhitePlainsDave
Date: 2016-06-26 00:30
Thanks for accolades but I'm sort of motivated by selfishness. Perhaps the complement comes in my taking joy in working with and making advances with incredibly motivated students who had every reason to give up--in which case thank my parents. But I do this for my own personal joy (i.e. selfishness).
The goal is to get these kids into [better] colleges with a foundation of strong core academics and a music hook, to learn the collegiate skills that will give them solid jobs, along with life long love for music, and a sense of obligation to give back time and money as alumni of the High School. To them Anthony McGill, given that he is of color and less than privileged background, and has enormous and deserved stature in two NY orchestras, enjoys rock star status.
I truly appreciate how this situation (as discussed) creates life lessons: a critical aspect of growing up that some children in my more Northern suburbs, (as they disrespectfully check smartphones mid-performance, but during rests) need to learn. Most of these less advantaged kids work to pay for reeds and have seen enough in their short lives to make perfect peace with life's inequities.
(And there are many kids with access to financial resources who are super dedicated and poised.)
Gregory, you'll be glad to know that neither student nor this teacher would accept nothing short of absolute mastery of the performance material, especially since the latter's reputation lines in the balance. The irony though, when she asked one maestro if they might consider her taking on a more "challenging role" (the words I suggested) was met with how much they (the maestro) know and appreciate not having to worry about how every aspect of the 3rd part is covered by her, while fellow section members don't even bother trying.
There is one silver lining in this story that I didn't mention that was effective. Another player, who now occupies the 3rd seat, a former student from similar project housing, who is now a mother of 3, Radiologist, and Northern home owner comes back, and spoke to my student (and the maestro) at my request. ![[happy]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley12.gif)
I've never questioned a maestro's decisions for a student during the performance season. But come winter black tie fund raising time, I do get my nubs in about how maestros can lose under nourished talent, and that my donations and "farm team" can play for others if with time and track record, such people don't move up with each year's loss of players to old age and other commitments.
Post Edited (2016-06-26 00:33)
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Author: kdk ★2017
Date: 2016-06-26 00:51
Of the explanations you've given her, I would say #1 is the one that's probably most responsible for the situation. And it's a strong argument, especially in a youth organization where providing the kids a feeling of safety may be important.
I heard #2 as a young player in junior high school and even then thought it was hogwash (and probably so does she). If it were true, the soloist at least would have been a good player (I take from your description that she isn't).
#3 is true enough, but, as you say, is a hard sell.
You don't mention (1) the student's age or (2) whether or not there is an established audition process. Did she audition to get into the group(s)? Are there periodic auditions to correct obvious misplacements?
You might expand #1, if you haven't already, to say that prioritizing seniority for seating placement means sooner or later she will percolate upward if she can be patient. Or, if there is an audition process that she hasn't been there long enough to have gone through, that may be her chance to move up when auditions next happen. Maybe next summer when the ensemble starts up again?
If she's old enough to feel comfortable directly questioning the band director (I'm assuming from your description that she's a teenager), she can always ask him if there's a way to move up in the section because she feels her playing warrants better than last chair placement (she can be more diplomatic but still make the point). That might get under the director's skin, but it might also get a more authentic explanation of her placement that you can give as a bystander. It might also attract the director's attention and make him or her more likely to think of moving her up.
You "got her involved in some summer wind ensembles," but mention only the one ensemble. Is she complaining about all the others as well? Is she receiving the same treatment in seating in the other ensembles? If she's playing in more than the one ensemble and the situation is better (more rewarding from her point of view) in any of the others, then she might consider dropping the one you've described. I guess it depends on whether she thinks (and you think) there's something worthwhile for her to get from the experience.
If she joined these programs after their initial formation for the season, she may find herself getting more recognition next summer if she is involved from the beginning.
What does she do for ensemble playing during the school year?
Karl
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Author: Ken Shaw ★2017
Date: 2016-06-26 01:44
What I've read about Drucker is that he quickly soared to the top with a combination of talent, hard work and a BIG ego. He didn't care what other people thought, but deliberately showed them up, intimidating them so badly that they stepped aside. Even in the NY Philharmonic, he embarrassed Robert McGinnis into retirement. (In fairness to McGinnis, he was eaten up with arthritis at the end and wanted to retire.)
For women, that's much harder. A friend who was at Eastman with Elsa Ludewig-Verdehr said she did the same thing. In playing and also in person, Elsa is frighteningly intense.
The answer to the band director is "Why does it have to be me? Put me where I deserve and let someone else carry the 3rd section this year."
Ken Shaw
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Author: WhitePlainsDave
Date: 2016-06-26 02:32
You don't mention (1) the student's age or (2) whether or not there is an established audition process.
1) 16, going on "30" in life experience, moxy, and discipline.
2) In both ensembles you could be "Drucker." You're accepted by word of mouth, (more so the 1st ensemble, which is easier for her to get to) and thrown to the "back of the bus" initially if you're young and absent of performance reputation, in part with good intentions to get as many students involved as possible. Moving up is a combination of ability, longevity, and other factors, including politics, but not reauditions, at least as far as I know.
"You might expand #1, if you haven't already, to say that prioritizing seniority for seating placement means sooner or later she will percolate upward if she can be patient."
Good and true point. My former student in 3rd chair conveyed that for me. Now my peer/friend, she felt more strongly than I did that lessons in patience weren't the worst thing. (Then I reminded her how much of a go getter she was back in the day.)
"You"got her involved in some summer wind ensembles," but mention only the one ensemble. Is she complaining about all the others as well?"
The second ensemble, much father away and harder to get to is fairer given the need to audition, and that its chock full of pros and music teachers who are really good. She sits near to last and deserves to based on ability, and knows it, and has no issue accordingly. It too has a highly loyalty based advancement paradigm but it's sorta moot to her given that she's sitting where she deserves to be sitting [based on ability].
"What does she do for ensemble playing during the school year?"
She gets bombarded with core curriculum work in a strong school whose excellent music department equally bombards them with group lessons, ensembles, large and small bands/orchestras, solos, chamber groups, music theory, singing, and needs to play for the theater arts performances. On top of all of that "Cruz," which sits at the very Southern end of Lehman College enjoys a close relationship with the college, and for top H.S. players from "Cruz" to sit in on college performance events.
Then there's community service work too, and jobs, and SATs, and sometimes for some simply being a mom who had kids at too early an age. Sleep seems to take far less of the priority that it should.
"I guess it depends on whether she thinks (and you think) there's something worthwhile for her to get from the experience."
I do. Ensemble work, not quiting because it's not ideal (she loves the groups, she just feels underappreciated in one) the importance of playing in a group, and appreciating places where she will be first seat play into that.
The real goal is to get these kids, leveraging (more than pursuing) their talent hook, and strong academics, into college, and better colleges, and more scholarship money, to be the first in their family to go to college, and have productive careers usually outside of music (one notable exception: music teachers).
Then--they are expected to give back.
Post Edited (2016-06-26 02:35)
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Author: kdk ★2017
Date: 2016-06-26 03:17
WhitePlainsDave wrote:
> "What does she do for ensemble playing during the school
> year?"
>
> She gets bombarded with core curriculum work in a strong school
> whose excellent music department equally bombards them with
> group lessons, ensembles, large and small bands/orchestras,
> solos, chamber groups, music theory, singing, and needs to play
> for the theater arts performances. On top of all of that
> "Cruz," which sits at the very Southern end of Lehman College
> enjoys a close relationship with the college, and for top H.S.
> players from "Cruz" to sit in on college performance events.
>
Sounds like she has plenty to do 10 months a year, musically and otherwise. I don't know how the kids of today do it - I couldn't, or very possibly just wouldn't, have tied myself up so much as a 16-year-old. So maybe another bit of wisdom might have to do with just relaxing and enjoying playing her clarinet over the summer without taking on the competitive pressure that no doubt drives her through her school year activity. If the music the band plays is enjoyable, just play the part and enjoy the ride.
> Sleep seems to take far less of the priority
> that it should.
>
Yes, seems to be an epidemic, at least here in the U.S. for almost everyone, but especially under-25-year-olds.
> "I guess it depends on whether she thinks (and you think)
> there's something worthwhile for her to get from the
> experience."
>
> I do. Ensemble work, not quiting because it's not ideal (she
> loves the groups, she just feels underappreciated in one) the
> importance of playing in a group, and appreciating places where
> she will be first seat play into that.
>
Yes, so back to my previous point about relaxing and having fun. It's called summer **vacation.**
Karl
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Author: lagatitalila
Date: 2016-06-26 08:49
It's good to make this "unappreciated" ensemble experience a life-lesson in graciously taking a support role, as others have suggested. Remind her that it gives her an opportunity to refine her musicianship and to lead from behind. If it's more of an "oppressive" situation, remind her that her role in that group is finite. Barring extreme, unusual circumstances, she can still get a lot out of a big fish/little pond scenario.
If she's still itching to play more this summer, have her seek out people to play with that are at her skill level. Remind her that the internet exists and she could even make international musician friends to vidchat/play with. Her playing opportunities are only limited by her motivation to find them.
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Author: Ken Shaw ★2017
Date: 2016-06-26 19:33
When I was in junior high and high school, I never stopped playing. Fortunately, one of the band directors ran a Saturday advanced beginner/intermediate rehearsal band throughout the year. When I got too good for them on clarinet, I switched to flute, with excursions to alto, bass and contra clarinets. If there was no oboist, I'd play that part, learning to transpose.
Several people in my high school band used these sessions to learn other instruments. One baritone player became an excellent percussionist and a trombonist became the best horn player in town.
I also bought the Andraud woodwind trio books (oboe, clarinet and bassoon) and frequently got together with the #1 oboist and bassoonist, usually alternating between playing music and playing bridge, adding our class math genius.
If you have the drive, you can make it happen.
Ken Shaw
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