On 18 May 2010 19:39, valerie wells <[email protected]> wrote: > I joined a newly forming community band a little over four years ago. > Under the skilled leadership of the talented director it has developed > into a very fine ensemble in less than five years. But, due to > seniority, the hornist who was the first to join the band just a few > months before I joined, has been awarded all the 1st horn parts, which > dissapoints me. I believe I play as well and in some ways better than > this individual. This is a fine band and I really want to continue > with this group, so I asked the director for an opportunity to > audition for first horn. The director being reluctant to offend the > other hornist, said he would instead divide the 1st parts within the > section. I'm satisfied with this arrangment as I enjoy the > opportunity to play all the parts from time to time. I believe this > is the fairest and easiest way for a director to keep everyone happy. > I do, however, like the idea of what Herb has shared -- auditioning > for specific solos -- and may propose we try that in the future. > > Valerie
I think that you have to understand that an amateur group exists primarily for the enjoyment of the participants. Good music is only important to the extent that it enhances that enjoyment. My behaviour in an orchestra has always been based on this, and a recognition that politicking usually reduces the enjoyment of the group much more than better music improves it. In almost all amateur groups I have ever participated in, the principle behind seating in the wind has almost invariably been "Buggins Turn" - i.e. on basis of seniority, except where the the principal voluntarily steps aside. Only in one group I've participated in have wind vacancies been filled on the basis of audition. Because of my work, I've moved around a fair bit, and so I've joined quite a few orchestras in my time. Whatever my opinion of the first horn, I have been very careful to make it clear that I will occupy whichever chair is offered to me. If I'm asked my preference, I say that I prefer high parts to low, but I'll go wherever is thought best for the section as a whole. It sometimes happens that after he has heard me play for a while and I have gained his confidence, the first horn offers to rotate, so that for instance I play first for the overture &/or concerto while he does the symphony. If this happens, I accept gratefully and make it clear that even though we are rotating, I still regard him as section principal. Occasionally it will happen that the first horn voluntarily moves down. I don't ever do anything to encourage this, but if it happens and the rest of the section is OK with me moving up, then I'll do that. If the first horn is not up to snuff and remains attached limpet-like to the principal's chair, then the decision is whether to stay and accept it, or to move on to another group. The issue is not whether the first horn is better than me, but whether he is good enough to make a decent fist of being principal. My approach here has been to try and gain the first horn's confidence and see if he is willing to accept suggestions for improvement. If that gets nowhere, then I move on. That has happened to me just once. But on principle, I never attempt by politicking to remove a first horn in occupation. I've seen it happen in other sections in various orchestras and the bad feeling caused is hardly ever worth it, even if the attempt succeeds. I also dislike the idea of auditioning for specific pieces. It puts the players in competition with each other when they ought to be working to play as a team. Regards Jonathan West _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
