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TubaTuck wrote: You wanna get some nasty looks (deserved) from your orchestra mates? Play an Eb for a written E natural during a Chorale!

I had a similar situation about 2 years ago, where I got the looks, but it was not my fault.
I was playing bass trombone on Brahms Requiem. The tuba player was a fairly well-known local, but admittedly out of practice at that moment due to his day job. I forget exactly what spot, but there was a key change and the bass bone and tuba were playing in unison in an exposed passage. He missed the key change completely for the entire phrase, so you can imagine what the line sounded like. I got the dirtiest of looks from everyone in the orchestra and the second trombonist proceeded to give me a lengthy and loud lesson on key signatures. I couldn't understand what went wrong at first, since I knew I played all the right notes, but everyone stayed rather annoyed with me anyway. Afterwards I asked the tubist about that spot and he was just like, "oh yeah, I missed the key change." Needless to say, all the blame fell squarely on the shoulders of the "new kid on the block," me. I don't think I have ever been asked back for that ensemble.

No, that never happens to me.

Rick "lying" Denney

Everyone has off nights, but you do "owe" it to the paying cusomers in the seats not to be TOO bad... what you do is strive to be good enough that a bad night isn't that bad in the house.

And as my bass trombone used to joke, until I used it to good effect on him, when everything turns to crap, turn next to you and glare as thoughtTHEY were the ones who did it!

Scooby Tuba wrote:Everyone has off days. We all just strive for consistent playing (including concentration levels ). I just played a ballet extravaganza at which the conductor/arranger made a bunch of errors in transpositions in the tuba and trombone parts (he's a great horn player). Some of the errors had me a 1/2 step off during some quiet and exposed brass chords (some errors were bigger). I felt about an inch tall as everyone glared at me, but just carried on, sweating as I went. I spent the breaks going through the score and correcting my parts (free of charge ). The opening statement by the brass was a loud fanfare with the tuba on a highish Ab. On the last night, I splattered that Ab with gusto!!! Did I worry? Nope. I figured I owed the conductor that one! The funny thing was that at the end of the show during the applause at lull in the clapping some one yells out "LOW BRASS" real loudly and the crowd goes wild! The trombone player and I looked at each other in amazement and just had to laugh.

Carry on, Tuck, carry on!

Don't feel that you're "special"--it happens to everyone.

I learned to adjust my focus to look for those "really on" days when I'm inwardly grinning at the way things are going.

Those are priceless.

I remember the first Octubafest at Cal State Fullerton in 1975. Tommy Johnson came to play the Vaughan Williams Tuba Concerto. He had been playing in the Hollywood studios for hours and he looked exhausted when he came in. He looked like he couldn't play anymore. But he played anyway. It wasn't the best performance I heard but it was an inspiration--that this man could still keep a promise and play, doing his best. Tired and hungry, he still did it. We all gave him a standing ovation, although some of the nonmusicians in the audience didn't understand why we did.

Speaking of "tanking", it can happen to the best of them. In 1950, I heard Robert Marsteller,
principal trombone of the LA Phil, play a euphonium solo (Londonderry Air) in which he went
for the high note towards the end and nothing happened. Great artist that he was, he quickly
reached up with his left hand, flicked the bell rim with his finger, and the note sounded. This
was at a musicians union clinic (the huge Local 47 in Hollywood/Los Angeles), and the
audience broke into appreciative laughter and applause because of his quick presence of mind.

Caution: Skip this paragraph if you can't stand the nostalgia of an old man. That day in 1950
was a busy one. In the morning I toured the F.E.Olds factory in Los Angeles (before it was
moved to Fullerton). In early afternoon, I checked in at the musicians' union clinic in Hollywood.
On the program were some truly terrific performers, including Marsteller; the great hornist
Max Pottag; the 28 piece Los Angeles Horn Club playing transcriptions of Wagner operatic
works; and Rafael Mendez and his teen age sons playing trumpet trios. There were others,
but my memory fails. So long ago. Sigh.

Wilt Chamberlain would have never made it out of practice (.511 lifetime average on FTs).

We're only human... Just keep having fun and playing music!

Tim

GC wrote:Wilt Chamberlain would have never made it out of practice (.511 lifetime average on FTs).

This must sound pretty good to Shack, these days.