Losing Friends

RIP Ross Sears.

I lost yet another close friend this weekend. As I look back at my life, I have lost some really extraordinary people who were in my life on an almost daily basis. It is a small wonder I feel so empty many days. Here’s the list:

Morrell Pfeifle. Mr. Pfeifle (pron FIFE-lee) was one of my conducting mentors. He conducted the ‘second band’ at Cal State Northridge. He was really the first of my teachers who encouraged me. He let me conduct the college band and even as a 21 year old, he had enough faith in me to let me conduct ‘Music for Prague 1968’ by Karel Husa. Not only was he my teacher, but also he was my friend. I only hope I have made him proud. He killed himself, his 3 kids and the family dog in a plane crash.

Ned Truelfels. Ned was a horn player, with whom I played in Debut, and American Youth symphonies. Later, we were both members of the Theophilous Brass Quintet. He had a brilliant career ahead of him. He was just starting to make inroads into the LA freelance scene, getting some excellent studio calls and getting a toe into the great symphony gigs in the southland. He was smart, funny, a great looking guy and always fun to be around. I’ll never forget our all night session, with Stan Friedman, about the merits (or lack thereof) of the minimalist movement. I have his picture (still) on my bulletin board in my office; I think of him daily. He died of a brain aneurism driving to work on the freeway.

Vic Steelhammer. Vic was one of those once-in-a-lifetime meetings. I met Vic under such odd circumstances, and the reality of the situation is that we really didn’t like each other so much. For some reason, we were drawn to each other and in spite of our differences, we became as close as 2 men can become. I felt like his brother and indeed his family welcomed me into their homes and their hearts. I always wished I could be a Steelhammer. He died in a plane crash. I went to the morgue to identify the body. I don’t think I’ve EVER cried so much. I'll never forget the look of horror he had on his face, as he crashed one of his prized, hand-made RC airplanes. I miss his calls, I miss his stupid jokes, and I miss his company.

Phil Zahorsky. If I had to PICK a brother, Phil would be him. He sat next to me 5-6 days a week for 30 years. I can’t begin to tell you how much he did for me professionally; I could write a book. When the SJ Symph went belly up, I didn’t see Phil as much and I felt real grief not seeing him. We talked almost daily on the phone. When he past May 18, 2011, I was overwhelmed. I wept for weeks; some days I couldn’t get out of bed, completely encased in debilitating grief. I have never felt loss such as this.

There have been other people who passed who I miss, Betty Steelhammer (yes, Vic’s mom) Ted Brown, Sam Comfort, Harald Peterson, Tommy Johnson, Mike Villegas. Every loss, a piece of you goes away.

Please take a moment today and tell a friend how important they are to you in your life.

College Music Blog

As I look back at my 42+ year professional playing career, I am thinking about the preparation I had as a young artist to prepare me for this field. I will endeavor to discuss the classes I took that helped, classes that I took that really didn’t prepare me for the career path, and other offerings that really would have helped.

Classes that helped

Sight singing and melodic dictation. This is the class that really helped my sight reading ability. ANY performance major should be required to be in this type of class their entire college career. I am having all my pupils sing their lines before they play them. How can you play anything, without knowing exactly how you want it to go before you put your horn on your head? Jake said it BEST: ‘Song & Wind.’ Hear the song, blow the horn. Really, after all is said and done, this is the essence of being a musician.

New Music Ensemble. (Thanks, Dr. Kessner). I played SO much new music that any new music situation in which I find myself, I feel totally prepared because I played some pretty wacky shit in college. PLUS, I got to play some really bad music that I composed; teaching me a GREAT lesson: Tony, you are NOT a composer, give it up!

Orchestra and youth symphony/training orchestras. When I auditioned for the San Jose Symphony, I had performed all the works on the list for conductors like Mehli Mehta (and his famous son, Zubin), Myung-Whun Chung, Jaja Ling, Toshi Shimada, not to mention that extremely talented college musician, Lawrence Christiansen.

Conducting. Believe me, I have seen such crappy conducting in my career, that by knowing what these guys were TRYING to do, I was able to survive even the most harrowing experience.

As much as it pains me to say this, Marching Band. NOTHING helped me more with my rhythm than trying to walk around the field with my sousaphone and play in time, NOTHING!

Band. The parts in band are SO much harder than most orchestral music, that I HAD to sharpen my skills just to cover the parts. I had to work even HARDER to play the parts well.

Strings, woodwinds, percussion classes. No only did this give me a little insight to what other musicians are up against, but as a conductor now, I have a wonderful understanding of all of the instruments of the orchestra. While I can’t play the cello, I always got an “A” in tuning. At least I could play those 4 notes in tune! Also, as an orchestra musician, I can listen to other instruments knowing their pitch tendencies and adjust on the fly if I find myself doubling a part with another instrument.

Classes that didn’t

Music History. I know I am going to take heat for this, but let me explain. SOME of the classes were SO hard, that I had to take hours away from my tuba just to keep my head above water. I had one class that was a ‘drop the needle’ type of class. We had listening assignments, then at the exam, the Prof would drop a needle on a ‘record’ (yes, I am THAT old!) and we had to write as much as we could about the work. This really helped me learn how to identify composers, eras, styles, and performance practices. This was DIRECTLY applicable to my career path. The big thing about THIS approach, was it taught me to listen. I learned to love Mozart, Haydn, Bach, Vivaldi, Gesualdo, Buxtehude, Hindemith and Strauss. What could be better than whiling away the hours listening to great masterpieces? To Doctor Eleanor Russell: Your class was a total waste of my time, I learned nothing, was WAY over stressed, you took my valuable time away from my tuba, and you were cruel in your daily dispersals of, “I’m sorry you are unprepared. F?” You seemed to delight in giving us undergraduate performance majors an F for our daily preparation. I’d like to see YOU prepare a tuba lesson with Maestro Bobo and waste hours of time trying to memorize Grout for your thrice-weekly abuse. Her specialty was the study of Spanish Renaissance music, including the work of such composers as Cristobal de Morales and Pedro Rimonte. No wonder she didn't mind wasting MY time...

Piano Proficiency Exam. Holy shit! What a nightmare! These were some of the requirements at Northridge: All of the major and minor scales two octaves hands together; ALL of the theoretical cadences in all major and minor keys, with correct voice leading; a Bach 2 part invention; The Star Spangled Banner in ANY key, asked by the panel; reduce at sight a 4-part score in soprano, alto, tenor and bass clef; play and conduct at the same time; accompany someone on a solo; improvise on a chord structure given to you at the exam; improvise a harmony of a melody given to you at the time of the exam. You could do these one at a time. But still. ARE YOU KIDDING ME? Piano majors routinely failed this test. I have NO keyboard skills. I went in to take the scale part of this test and Eleanor Russell (again!) said, “I’m sorry, Mr. Clements. This is unacceptable.” I calmly stood up and addressed the panel and said, “When your piano majors can play ANY of this shit on the tuba, I’ll be back here to take this friggin’ test.” THIS is the SOLE reason I have no degree. NO WAY I would EVER, in my wildest imagination, pass this test. How about requiring 2 or 4 semesters of piano class for us performance majors? Wouldn’t this suffice?

I wish I had access to these classes

Chamber music. I have made a ton of dough playing brass quintets, brass gigs and other small ensemble jobs. At Northridge, there was NO organized chamber music. ANY small group playing I did, I organized. And there was no faculty to coach the ensembles. The skills learned playing chamber music are DIRECTLY applicable to ANY gig I have ever played. San Jose State, no chamber music (I put together a tuba ensemble). Cal State East Bay, no chamber music anymore. WHY NO CHAMBER MUSIC??

Choir.  See Sight singing and melodic dictation above. I just didn’t have time. EVERY music major should be required to sing in a choir for AT LEAST one year (2 semesters, 3 quarters). ARE YOU KIDDING? This is a no brainer!!

Jazz Band, Improv. For every Mahler Symphony I’ve played, I’ve played 3 pops concerts. When I first started playing in the San Jose Symphony, I felt so underprepared to play pop music that I signed up at a local college to play trombone in their jazz band. This gave me the confidence to read those damned jazz figures (with which I had little experience) and that crappy manuscript that I had to read. Learning to improvise is the only TRUE way you can get in touch with your instrument. The jazz guys have a HUGE advantage to my ‘handcuffed to the music’ colleagues. At 64 ½, is it too late for me to learn?

Teaching seminar. One way I’ve made money was by giving private lessons. I would have loved to have Tommy Johnson, or Jim Self, or Roger Bobo, or Loren Marsteller observe me teaching and offer comments on how to make me a better teacher.

A reading band/orchestra. Most semesters, we worked all semester (3 rehearsals a week) to play ONE concert. I have NEVER had this luxury in my career. Usually, rehearsals start Tuesday and the concerts are Friday, Saturday and Sunday. Yes, I get my music ahead of time and I get to the first rehearsal with my part prepared. MANY times, we get the music for a pops concert Thursday and with 2 rehearsals, open the weekend series on Friday night. NOTHING in college prepared me for this kind of “READY, AIM, FIRE” concert preparation.


Audition prep. Get a list, work with my teacher, play a blind audition behind a screen. This is probably THE most uncomfortable playing situation for musicians seeking employment. No one likes auditions. Do one a semester, NO QUESTION. By the time you are on the audition trail, you've done 5-10 mock auditions in real life settings.


More recitals. I love playing solo & ensemble repertoire. I didn't discover this until I put one together myself several years ago.

I hope some of you college professors out there take a moment to consider this and maybe, just MAYBE we can start moving to helping our young artists.

I may add to this later, but it’s a start.


I welcome any and all comments.

The Path of an Artist

An AMAZING paper from one of my idols, Allan McMurray:

LEVEL 1 – PARTICIPANT

The common level of commitment is that of the participant. The music participant enjoys the experience of getting together with friends and engaging in the events. The participant is conscientious about rehearsal times, works to learn the music in rehearsal, and is interested in being a good section member. The participant likes music with a good beat.

LEVEL 2 – PLAYER

The next level is that of a player (or singer). The player/singer is a person who loves music because it gives him/her a chance to play. The player wants to play a lot and practices to achieve range and technique that can represent a great sound whenever the player plays. The player arrives early to practice his “licks” and wants great parts to play. In fact, the player judges music based on her/his part. If it’s a good part, it is a good piece of music; if it’s a bad part, it is a bad piece of music. The player likes solos and strives to be heard. The player loves her/his instrument and enjoys getting together with other “players.” The player will learn her/his part outside of rehearsals so s/he can sound good in rehearsals.

LEVEL 3 – MUSICIAN

The third level is that of the musician. The musician plays her/his instrument well and shows up to rehearsals with her/his part mastered. The musician loves chamber music and ensemble because of the opportunity for musical collaboration. The musician does not come to rehearsal to learn her/his own part; the musician comes to rehearsal to learn everyone else’s part. In that way, the musician is learning how to play together by concentrating on intonation, articulation, phrasing, blend, balance, and style. The musician is about listening, learning, and collaborating with other musicians. The musician evaluates whether or not a piece of music is good by the sounds that are created by everyone and enjoys listening as much as playing. The musician likes being a contributing part of every rehearsal through collaboration.

Level 4 – Artist

The fourth level is that of the artist. The artist has all the skills of the player and the musician, but the artist is also a creator. The artist comes to every rehearsal prepared in every way and leaves every rehearsal with new goals. The artist loves great music making and loves to bring expression and inspiration to the performance. The artist has imagination that is fueled by opportunity. That opportunity might come in a solo passage or in an approach to style that amplifies the intent of the piece. The artist is a collaborator with the other members of the ensemble, with the conductor, and with the composer. The artist is intuitive and original, but only uses those skills in pursuit of the most beautiful performance possible. The artist evaluates whether or not a piece of music is good by how it is composed and what it expresses. The artist has the potential to elevate the listener’s perception of an average piece through an extraordinary performance. The artist loves music because music fuels her/his soul.

If it were only about choosing a level, then all performers and conductors would be artists. But it is not about choosing: it is about growing, listening, and surrounding oneself with great music, great books, great art, and great people. It is about informed intuition. It is about learning theory so the architecture and harmonic language can be heard in every melody. It is about knowing performance practice and style of music of all periods. It is about listening to challenging pieces by imaginative and original composers, and pushing the envelope of personal preference. It is about reflection on life, death, pain, celebration, passion, grief, and nature to understand and experience those things that inspire meaning in art. It is about learning to be at home in solitude and seeking it out. It is about beauty and spontaneity and imagination and spirituality. It is attempting to approach every sound and every silence every day as if it matters, because it does. It is recognizing that the pursuit of perfection is a lifelong goal and that it is unattainable. It is knowing that the artist’s life is not about a destination—it is about the journey.

Road Blog

I just drove 3968 miles to Texas and back. Miles on the road, in a few short days, inspired this blog.

One of the truly great things about living in California is some of the greatest roads for riding/driving. I’m talking ROADS; like Skyline from Black Road to Hwy 92, or 36 from 101 to I-5. More great roads: 299, or Hwy 2. I’ll NEVER tire of Hwy 1, the coast road south of Carmel. I’m not talking about 101 north of San Jose, or the 405, or the Central Valley’s 99. These roads are terrible. Perhaps, it is because we don’t know HOW to drive these roads. Maybe I can help.

I don’t know how many of you know how to NUMBER the lanes. Luckily for us, they are numbered, like we read, from left to right. The lane to the left is lane number 1. Next lane from left to right, is the number 2 lane, and so forth until you reach the right shoulder.

I believe lane SELECTION is the key. Follow with me, please:

TWO LANES each way:

The number 2 lane is the DRIVING lane, and the number 1 lane is the PASSING lane. Drive on the right, pass on the left. While driving, you come upon a slower moving vehicle and you decide to pass. Check your rear view mirrors, turn on your left signal, head check over your left shoulder, move over and pass. PASS. When you can see BOTH headlights of the slower moving vehicle in your interior rear view mirror, signal right, and return to the driving lane. Hint: if the slower moving vehicle is travelling 60 miles per hour, and you are “passing” at 61 or 62, you are not passing, you are obstructing traffic. California Vehicle Code 22400. Put your foot in it and get around the slower vehicle.

THREE LANES each way:

In an urban area, the number 3 lane is a merging lane. Use this lane to merge onto the freeway, and move into this lane when you want to get off. Don't DRIVE in this lane. The number 2 lane is the driving lane, and the number 1 lane is the passing lane.

FOUR LANES each way:

In this case, the number 4 lane is the merging lane. The number 3 lane is the driving lane, the number 2 lane is the passing lane and the number ONE lane is the through lane. I explain: if you are going to be on a freeway for 10 or more miles, you have no reason to be in the merging lane, or messing around with driving and passing. Get over to the number 1 lane and stay there, until 1 or 2 miles before you need to exit, then safely make lane changes until you need to get into the merging lane to get off.

There is an exception to this. We are taught in driver’s ed, to check our rear view mirrors every 4-6 seconds. I do this, don’t you? If you see someone coming up behind you, moving faster than you are going, MOVE THE HELL OVER AND LET HIM PASS! In California, slower traffic moves right. If you don’t, you are a road boulder. See Obstruction above (California Vehicle Code 22400). Temporarily, move into the passing lane, and get back into the through lane once the faster moving vehicle has passed you. Slower traffic move right. Vehicle Code Section 21654.

MORE THAN 4 LANES:

1-    Through lane

2-    Passing lane

3-    Driving lane

4-    Driving lane

5-    Merging lane

Please, if you are driving and there are 5 or more vehicles behind you, PLEASE pull over:

VC Section 21656.  On a two-lane highway where passing is unsafe because of traffic in the opposite direction or other conditions, a slow-moving vehicle, including a passenger vehicle, behind which five or more vehicles are formed in line, shall turn off the roadway at the nearest place designated as a turnout by signs erected by the authority having jurisdiction over the highway, or wherever sufficient area for a safe turnout exists, in order to permit the vehicles following it to proceed. As used in this section a slow-moving vehicle is one which is proceeding at a rate of speed less than the normal flow of traffic at the particular time and place.

A couple of words about carpool lanes: FUCK THEM! If we had decent public transportation, we wouldn’t need them.

A couple words about metering lights: FUCK THEM!! I can see (sort of) having metering lights to get onto the freeways, but metering lights from one freeway to another (like SB 17 onto 85 south). WTF?? The traffic is to flow FREEly from one FREEway to another.

When it comes to driving and passing, they know this in every state except ours. Driving in Arizona, New Mexico, Oklahoma and Texas, people tool away in the right lane, then move into the left lane to pass, and actually pass! When I got back into California, everyone was driving all over the place. Maybe we need a sign at all ports of entry into our state:

WELCOME TO CALIFORNIA, MOVE RIGHT TO PASS.

No Good Questions

The older I get, the more convinced I am that there are no good questions to ask during rehearsals. Consider, if you will, commonly heard questions asked in rehearsal:

1 – “What note do I have in measure X?” REALLY? You have to ask that question? What’s everyone else playing? If someone else is playing an F#, and you have an F♮, play F#. If that doesn’t work, look at your section mates’ parts. What are they playing? What’s the group playing? If it’s D major chord, play F#, if it’s D minor, play F. If I think I have a wrong note, the first thing I do is look at the trombone parts. If that’s no help, I look at the bass part, then the bassoon part. If you really can’t figure it out, check out the conductor’s score AT BREAK, or after rehearsal. Don’t waste everyone’s time with a note check, really.

2 – “Are you in 2 or 4 there?” Again, REALLY? If the conductor’s motions are generally up & down, I’d guess 2. If there is some side-to-side movement, I’d guess 4. If he* is in one speed, and then suddenly changes speed by a factor of 2, roughly, figure he’s changed from one to the other. If that’s not enough information, ask the tuba player. He isn’t doing anything but watching anyway. He’ll know.

*In this narrative, I use the masculine for the nameless conductor. There is no gender implication here; it is simply for convenience.

2a – “How fast are you going there?” Aren’t you watching? Go with the stick. If you can’t get it, go with the principal of your section, or the concertmaster.

2b – “What’s my dynamic at …. ?” What’s the guy next to you got? What’s the rest of the section have? What’s the rest of the group doing? Is the conductor conducting big, or small? If none of these help, look at the score, at the break. A good rule of thumb is blend with the group.

2c - "What's the bowing at ... ?" Really, you have to waste the whole orchestra's time with this? What's your section principal doing? If you can't tell, look at the concertmaster. Man, if I had a buck for every minute wasted on bowing discussions, I could retire now. Besides, isn't this supposed to be figured out ahead of time? If not, is this a discussion that can take place at the break?

3 – “Are you changing speeds there?” Well, DID he? If he did, he probably will again. If not, he probably won’t. Aren’t you watching? Even so, he may do it differently each time. Just watch. Forget about what’s in, or what’s not in the part. Parts are wrong all the time. If you honestly can’t figure it out, sit out one pass through that section and see what everyone else does. Go with the group.

4 – “How long do you want the notes there?” This one is only HALF bad, because sometimes it is hard to tell. I always listen to the first trumpeter. If I do what he does, 99% of the time, I’m in good shape. If the trumpets aren’t playing, I listen to first trombone, or first bassoon, or the basses, or the celli. Or … I do what the concertmaster is doing. There is nothing wrong with going with the principal violin (or principal clarinet in the band).

5 – “Someone (or some section) is playing a wrong note (or wrong note length) at …” REALLY? Do YOU want someone telling YOU that you are screwing up? The conductor will figure it out, or he can’t, or won’t. Still, it’s HIS job. Keep it to yourself.

6 - Recently heard at a professional orchestra engagement: "Is the (section brass part) supposed to be muted there?" SERIOUSLY? What is the rest of the section doing? If they ARE muted, use your mute. If not, don't. If there is a question, don't mute. Wait for the conductor (or section leader) to ask for it. Do we have to interrupt a rehearsal for this question?

7 - "Can we play at letter X one more time?" C'mon! You are going to waste everyone's time so you can learn your part? Also, this points out that you are unprepared. Practice at home; that's what You Tube is for.

At recording sessions, never, EVER point out that you made a mistake, EVER! What’s the point? It’s the conductor’s job to hear clams, or the recording engineer. Make like Yo-Yo Ma, you played everything perfectly. USUALLY, you are the only one that heard the mistake. Don’t WORRY about it. You could be costing everyone (producers, etc.) tons of dough to make another pass at that section, PLUS you are pointing out to the contractor that you messed up. You just might not get that call next time. Clam up on the clams. Someone is making a helluva lot more money than you to make sure the performance is clean. Let THEM worry about it. You have ENOUGH on your plate when the red light is on.

These are a few, I am sure there are others. As always, I welcome & encourage your comments.

It was one of those nights...

As I walked out on the stage during intermission, I sat in my chair and looked around me. I blew a few notes to make sure I was warmed up and my horn was up to temperature, then just absorbed the scene. One by one, my colleagues made their way onto the stage, the audience slowly returned to their seats, then the chorus filed in. Right before Robin (our concertmaster) stood up to tune the orchestra, there was this buzz, or heighten awareness in the room that something WONDERFUL was going to happen. The orchestra tuned, the room got silent, then Gregory Vajda walked onto the stage. The audience applauded, as they always do, no more, no less than any other conductor who has been fortunate enough to conduct our talented collection of artists.

Gregory mounted the podium, raised his arms and gracefully brought them down, and the wonderful DID happen. As the low strings made the gorgeous opening tones, and shortly after the chorus entered, the California was FILLED with Brahms. Music that has spanned the centuries was magically shared by 150 musicians on stage and a hall brimming with music lovers. It was one of those moments for which we musicians live.

During the whole first movement (I don’t play so I was truly a transfixed member of the audience), I was filled with wonderment, glee, appreciation, gratitude and awe. Here I am, sitting on this stage, in this beautiful building, wearing beautiful clothes, amongst a stage full of talented musicians, surrounded by this enchanted experience, God, I HAVE to be the luckiest man alive tonight. It was one of those moments that brings back the whole reason I am so passionate about music. Nothing else seemed to matter, but the moment. So often, we are sidetracked by contracts, and working conditions, and all the unmusical necessities of keeping an arts organization running, but here it is, the whole reason we do that, for THIS, right here, right now. We are IN that moment. Nothing else matters.

The Requiem was spellbinding... start to finish.

As the final chords were sounding, and Gregory held that last note, time was suspended. Those few seconds of silence after the release, seemed like an eternity..... then the audience erupted. Know it or not, they were participants in an extraordinary event.

Why would you want a degree in music?

At the risk of sounding like a jaded old fart, why WOULD you want a degree in music? Here are your career choices:

Professional player/conductor/composer/arranger

Public School Teacher

University Professor

That’s it. I’ll go over these one at a time, starting from the bottom.

UNIVERSITY PROFESSOR

First of all, you better be prepared to spend MOST (if not all) of your 20’s in school. NO college in the US will even consider your application without a PhD, or a DMA. Unless you’ve spent most of your life playing with the Canadian Brass, or the Julliard String Quartet, you’ll need the doctorate.

Plan on starting your career with almost $100,000 debt. Unless you are one of the fortunate few that can secure a free ride for your ENTIRE university career, you will have incurred some debt for tuition, lessons, materials, housing, and the like. $100,000 is not unreasonable in 2011.

Check into the pay. With SO many doctorates out there LOOKING for work, colleges don’t really have to pay much. I know of a recent opening for a university band director job that received over 150 applications. No PhD, or DMA, the apps were trashed. I know what the pay offer was. A public school teacher with 15 years service, with a BA +30 pays more. Recently, a good friend of mine was offered a college position, full time Assistant Professor teaching their instrument. At the same time, a job offer for teaching HS band was tendered. The HS job paid TWICE what the university offered.

I was having a few beers with some young college musicians, most of whom had at least Master’s Degrees and the rest had Doctorates. I was the lone un-degreed person in the room. I casually asked, “You guys are on the job search trail. What would you reasonably expect to be paid for a full time college teaching gig?” I was SHOCKED at the reply, “About $40,000.” Starbucks pays that here in California for a full time employee.

PUBLIC SCHOOL TEACHER

When I was in school (a hundred years ago), all of us ‘performance majors’ considered this a reasonable “fall back position,” should we not make it in the pro world. Along with practicing 3-4 hours a day, I learned to play the clarinet, bassoon, cello, drums (non-mallet percussion, really), piano, auto harp, and the recorder. I learned how to plot marching band shows, how to conduct basic band repertoire and how to arrange pop tunes for a field band. I took the history of the wind band, history of the symphony orchestra, all the counterpoint classes, 20^th century techniques, form & analysis (Skapski was TOUGH!), and music history out the yin-yang. I even learned to be a copyist, using tips, nibs and vellum. All to be prepared to be a school music teacher.

Have you heard what’s happening to music educators all over the country? Tenure doesn’t mean a thing. If they want to cut corners, and they do, music is one of the first programs to go. If you have tenure, all they have to do is cut the program. No program, no class, no teacher needed. “Thank you and good luck.”

There is a lot of blame being laid on teachers for the lack of success of today’s students. Hey, I see your kid 5 hours a day, what are YOU doing to help your kid? It used to be, “Teacher is always right. Do what teacher says.” Now, if a kid fails, it’s the teacher’s fault. The inmates are running the asylum and the teachers are powerless to do anything. All discipline has been removed from the teachers, and the kids know it. Not to mention the rash of teacher assaults.

Pay: as recently as the 1960’s teachers, lawyers and doctors (the ‘noble’ professions) were paid on about the same level. Qualified college graduates would prepare equally for all three of these professions. With teacher salaries falling WAY behind the other professions, is it any wonder why our best & brightest are going elsewhere? I am not saying that there aren’t some GREAT teachers out there, there are, but MANY bright people are looking elsewhere. With jobs being cut, benefits being reduced, total lack of any authority to do any kind of classroom management, parents blaming teachers for their kids’ failure, and the pay not being commensurate with the tasks required, who in their right mind would want to go into teaching these days? Shrinking budgets, buildings falling into disrepair, instruments purchased in the 1970's, no money for repairs or replacements, music tattered and missing parts.....

PRO PLAYER, ETC.

In a word, fuggedaboudit! There’s no work.

Composer/arranger - For every John Williams composing and arranging film music, there are thousands of composers teaching private piano lessons. The only real hope you have to make a living is if you can write great band literature. Look at the successful models (not limited to these folks) – Ticheli, Ewazen, Camphouse, Stamp, Sparke. There are a few more. If you can’t write as well as these guys, seriously consider other options.

The conducting spots are far and few in between. Professional orchestra conducting is more about who you know, and being in the right place at the right time. You’ll be better off trying to be struck by lightening; you’ll have a better chance of success.

Being a pro player – when Ms. Jantsch won the Philadelphia Orchestra position there were (I was told) 197 candidates applying for the position (PLEASE correct me if I am wrong. I don’t want to seem delusional). I would guess the top FIFTY (or more) were qualified for that level orchestra. I would guess the next fifty would be just great in the job. I bet the next fifty could actually DO the job. Seriously, do you think you could win a position against those odds? Really, I wish you luck, but please, take a healthy dose of reality with your morning Malt-O-Meal. When I was on the audition trail (back in the dark ages), one of the options was being in the service bands. I can’t TELL you how many times I heard, “I can always get into one of the service bands.” Man, has the tide turned on this. Playing in Washington in one of THOSE bands? What a privilege, what luck! Good luck winning one of these gigs. Even the smallest bands, in the remotest areas have GREAT musician/players these days. IF there are openings.

So now, where does this leave this rant?

I have the answer: become a plumber. When the guy rings my doorbell, I pay him $129.95, just to show up. If he looks at my problem and can’t fix it, I pay him for his expertise. If he can actually DO the work, he adds a few bucks the to price of the parts, weedles a cup of excellent coffee outta me and he’s out the door in 20 minutes. If he does 5-7 of these calls a day, his gross income (figuring 5 calls a day, 28 days a month, 10 months a year) $182,000. Do the math: ((($130 x 5 calls) x 28 days a month) x 10 months).

But I LOVE playing my instrument!

You can still be out playing your instrument 5-6 nights a week. There are tons of community bands & orchestras. Chamber music is BOOMING. In our small area there are TWO British-Style Brass bands. Here in the San José area, there are a dozen community theaters producing shows. NO problem addressing your creative needs.

As always, your comments are most welcome.