>Here was a player who not only could have played first, and principal at that, >she could have soloed with the group as an artist. But she left because there >was no mechanism in place for her to advance, and we lost a valuable addition >to the group.<
Thank you, David, for your very thoughtful posting and a great example that supports my position. I can't say for sure, but I believe a similar happening prompted the band director I was discussing to revise the way parts were distributed in the trumpet section. In the very beginning, he had a very skilled trumpet player serve as principal. The trumpter played well the first few concerts. Unfortunately his playing deteriorated during the second season and his attendance at rehearsals became spotty. Yet, he continued as "principal." In his absence two very skilled trumpet players consistently did outstanding jobs subbing the trumpet solo lines at rehearsals. Yet, the principal showed up at the concert to do his duty to performed the solos. And he played horribly! The two fine trumpeters who subbed on the solos at rehearsals left the band. It was a couple years before the trumpet section recovered from the losses. I don't know what happened to the original trumpet principal. Whether he stepped down voluntarily or the director asked him to leave I'm not certain, but he's no longer with the band. After he left, the band director started distributing parts w/i the trumpet section himself. The reason for this change he explained, was to "keep all the trumpet players' chops in good shape throughout the concert." But I suspect the director also wants to assure he'll never again get stuck with an unreliable trumpet principal that doesn't have the good sense to know when to step down. I'm guessing this is one reason the director was amenable to my private request for the opportunity to share horn parts w/i the horn section. BTW, Jonathan suggested I first make efforts w/i the horn section to remedy the situation I found myself in. While we did a small amount of this in the beginning, I could see this practice potentially leading to horn players haggling over who gets to play which piece with the best solos, etc. which could result in hard feelings, resentment, etc. I wanted no part of such a situation. I believe those decisions are best made by a third party, specifically the director, leaving no room for the horn player with the more assertive personality, or most seniority, to dominate. I also believe most significant changes with/in a horn section (or at least that particular horn section) should be cleared through the director anyway. Besides that, when the director becomes familiar with the strengths & weaknesses of each player, he can make good decisions about who is best suited for each piece, solo line, etc. When he can't and there are critical, exceptionally challenging or desirable solos pending, I think auditions for the solos are a good idea. Valerie Wells http://beforhorn.blogspot.com/ _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
