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 Report on Tony Clements

Overview

Tony Clements boasts an illustrious career in the music industry, with extensive experience as a professional tubist, conductor, educator, and manager. His diverse roles and accomplishments highlight his exceptional talent, dedication, and versatility.

Professional Playing Experience

Tony Clements has an impressive track record as a principal tubist, performing with Symphony Silicon Valley and Ballet San Jose. He has also played with numerous prestigious orchestras, including the San Francisco Symphony, Oakland Symphony, San Diego Symphony, and San Francisco Opera. His solo performances are equally notable, with appearances across various venues and orchestras such as Symphony Silicon Valley and San Jose Chamber Orchestra. His participation in multiple music festivals and Broadway shows, along with a solo tour in Japan, underscores his versatility and wide-ranging appeal as a musician.

Conducting and Coaching Experience

In addition to his performance credentials, Clements has a robust background in conducting and coaching. He has guest-conducted for Symphony Silicon Valley and directed orchestras such as the Winchester Orchestra and the Ohlone Wind Orchestra. His coaching experience includes roles at Stanford University, Cal State University East Bay, and Santa Clara University, among others. He has been a brass coach for youth symphonies and provided private lessons for low brass instruments since 1982. This extensive teaching experience highlights his dedication to nurturing the next generation of musicians.

Managerial Experience

Clements’ managerial acumen is evident from his tenure as President of the Musicians’ Union, Local 153, and as a personnel manager for Symphony Silicon Valley and San Jose Symphony. In these roles, he was responsible for managing personnel, contracting musicians, and overseeing various ensembles. This experience demonstrates his strong leadership, organizational, and administrative skills, essential for any management position.

Educational Competencies

Though Clements did not complete a formal degree, he has accumulated 182 semester units, surpassing the 132 units required for a B.M. in Performance from Cal State Northridge. His coursework includes advanced music theory, history, and private composition study. His comprehensive education, combined with practical experience, provides a solid foundation for his professional endeavors.

Professional Affiliations

Clements is actively involved in several professional organizations, including the College Band Directors National Association and the International Trombone Association. These affiliations reflect his commitment to continuous professional development and engagement with the music community.

Assessment

Trust in Management Position

Given his extensive experience in both performance and managerial roles, Tony Clements is well-equipped to handle a management position. His leadership roles in the Musicians’ Union and as a personnel manager for major orchestras underscore his capability in managing teams and organizational operations effectively.

Trust as a Person

Clements’ long-standing career and active participation in professional organizations suggest that he is a reliable and respected figure in the music community. His commitment to teaching and coaching further indicates his dedication to supporting and developing others, which is a testament to his character.

Positives

• Extensive professional playing experience in various prestigious orchestras and solo performances.
• Significant conducting and coaching experience at notable institutions.
• Proven managerial skills in orchestral settings.
• Strong educational background in music theory and history.
• Active participation in professional organizations.

Negatives

• Lack of a formal degree, although this is offset by extensive practical experience and additional coursework.

Areas of Focus

• Leveraging his diverse experience to mentor and guide upcoming musicians and conductors.
• Continuing to develop managerial skills, potentially leading larger musical organizations or educational programs.
• Further formal education or certification could enhance his already impressive resume and provide additional credentials.

Final Recommendation

Tony Clements is highly recommended for management and leadership roles within musical organizations. His extensive experience, demonstrated leadership, and dedication to education make him an invaluable asset. Despite the absence of a formal degree, his practical experience and commitment to continuous learning more than compensate, making him a trustworthy and reliable candidate for any role.

Tony Clements' resume paints a picture of a highly skilled and dedicated individual whose extensive experience and accomplishments make him a strong candidate for leadership roles in the music industry. His blend of performance, teaching, and managerial expertise ensures he would excel in any position requiring both musical talent and organizational skills.

Words of wisdom

As a seasoned, certified, old fart, here is some wisdom I have tried to impart to all of my students. I have not always been successful, but I have tried.

 

1 - Get to rehearsal ahead of time. If a 7:00 rehearsal, get there BEFORE 6:30. DO NOT come strolling in at 5 to 7. “If you are early, you are on time. If you are on time, you are late. If you are late, YOU’RE FIRED!” – Roger Bobo

2 – Take responsibility for your gear and music. It is YOUR responsibility to keep track of your stuff. Is the part muted? You better have one, and ensure it works in your horn for the notes you actually have to play.

         2a – Never, EVER tell a conductor you lost your music. As soon as you discover it missing, work with the librarian to get it replaced. Borrow the other guy’s music and get it duplicated IMMEDIATELY, don’t wait a few days to see if it shows up.

3 – ALWAYS wear the right clothes. Look great, don’t worry what the other guys are doing. EVERY concert, look your best. Clothes cleaned and pressed, and shoes polished. Make sure your sox match. If necessary, go buy a new shirt. 

    3a – ALWAYS keep a bow tie and a long tie in your black jacket pocket. Sometimes they change dress code and you don’t want to be the only guy with the wrong tie; it looks terrible. In the REAL music business, looks matter. If you aren’t sure what the dress code is, ask the conductor for clarification, or the personnel manager.

4 – At rehearsals, warm up and put your horn down. NOTHING is more amateurish than to hear players trying to play excerpts. At rehearsal, or performances you are NOT practicing; you are reinforcing bad habits. Playing excerpts on stage is BUSH; just don't do it! Practice at home!

5 – Don’t get involved in politics. Show up, play your horn, go home. "Keep your head down, and mouth shut.” In a professional situation, you need to EARN your tenure. Management needs NO EXCUSE to let you go before you get your tenure.

6 – Keep your horn clean and in GREAT working order. A beat-up horn indicates that the musician is sloppy. The way you care for your gear, will be reflected in your playing; it’s a sign of striving for excellence, and it shows respect for our craft. Without fail, when I see a player with a beat up instrument (unless it is done for comic effect), their playing is riddled with flaws.

7 – Don’t talk to a conductor at rehearsal unless it is a real (not imagined) emergency. The MD (Music Director) has a lot more to worry about, than your personal issues, at rehearsals. Email or call later.

    7a - Don’t ask questions at rehearsal. Figure it out yourself. Read my blog “No Good Questions," (https://tonyclem.blogspot.com/2011/04/no-good-questions.html) on this.

8 – Practice with your mute. Except for the bagpipes, NOTHING sounds worse than a euphonium or tuba player struggling with a mute because they didn’t know if it works properly in the instrument.

9 – ALWAYS have your own set of parts. Even if you know that there will be music at your rehearsal, have your own music. I have shown up MANY times and the librarian didn’t have music, or they expected you to bring your practice parts. If you don’t have the right music, who’s fault is it? YOURS!!! You are the one who looks like a knothead because you don’t have music. With all of the online resources, there is no excuse for not being able to secure the music you need.

And MOST of all:

10 - ALWAYS live up to your commitments. If you tell someone you are going to play for them, play for them. Do not ever go back on your word. The person who asked you, wants YOU involved in their event. Once you earn the reputation of bailing on gigs, you will find yourself NOT being called in the future. An exception here: If you find yourself with a conflict, for the original event, find a sub (who is available for ALL services) who plays BETTER THAN YOU. Before committing that person, call the person who engaged you (personnel manager, conductor, contractor, etc) and say this, "I am so sorry, but I have found myself with a conflict. I have found <so and so> to substitute for me? They can play all the services for which I was engaged. Would it be ok if I sent him/her?" If they hesitate at all, say, "Thank you. I will send my sub to the other gig. I will be at all services for which you originally engaged me."

I am certain there are others, but with my current state of CRS disease, I may have left one or 2 out.

As always, I encourage and welcome your input below.