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I think it's just that some don't really understand Scottish music.

bloke wrote: ↑Wed Jan 17, 2024 1:57 pm I think it's just that some don't really understand Scottish music.

Somebody was playing in bagpipe tuning.

Learning how to deal with people is part of growing up. There is no "correct" formula here, but rather just sensitivity to the people around us so that we can decide how pushy we can be before people will be offended and push back. For me, that generally means sotto voce snide remarks to the guy next to me, "what's a quarter tone among friends?" We can at least keep ourselves entertained.

If the people in the same section as the offender don't feel comfortable mentioning it to the him or her, then some guy in the tuba section isn't likely to be well-received, either. In a community group, perfecting the music is only one of the goals of the activity, but as with all human pursuits, creating a group product requires working with people of all types, including some who are overly sensitive and brittle in the face of criticism. Their enjoyment is also a mutual responsibility.

As for me, the trombone section is as far as I'm willing to extend my giving of advice, and even that works only some of the time.

Professional musicians can be counted on (for the usual repertoire, at least) to play the correct note at the correct time, with the correct dynamics and articulation. (Being a great performer requires more than that, but that's the entry fee.) They also spend their days honing their craft, or at least they did so during some period of their lives when that was their highest priority.

Amateurs, on the other hand, didn't. Our learning didn't benefit from a period of years where we could concentrate 6-8 hours a day on honing our musical abilities and technique. We spent our days doing other things, hopefully the things we are paid to do as adults.

So, playing in amateur groups requires, at some level commensurate with that specific group, tolerance.

It's one of several reasons I shy away from brass band stuff. I just don't like the competitiveness of it. I've already done all the competing I need to do in life. And, as an amateur, I'm too focused on other things to spend the time it would take to become fluent with the treble clef. And, as an amateur, I'm too focused on other things to develop the technique a lot of brass band music seems to require. (All this notwithstanding my skills are on the downhill end of life.) And, as with all wind bands, some of the music is wonderful and some of it was obviously composed only to show off specific abilities.

Rick "makes enough mistakes to know how to own them without needing correction from some guy in the clarinet section" Denney

Rick Denney wrote:It's one of several reasons I shy away from brass band stuff. I just don't like the competitiveness of it.

yup...I could possibly become interested in that genre/style/literature - and might even be willing to travel - but NOT to ANY sort of "contests"...
...a "festival"...? (maybe/probably).

Rick Denney wrote:As for me, the trombone section is as far as I'm willing to extend my giving of advice, and even that works only some of the time.

I don't mind asking the 'bone section in an orchestra if they might be willing (if they may not have noticed) to mimic another section's phrasing (as I myself am considered to be a "principal") but the thing is this: They never don't notice.

About the most terse I ever was with a trombone section was where one of the trombone players was a former D.C. service band principal and another was a professor of trombone at a major university...and don't get me wrong, a FINE section...but they were screwing up their offbeat-fast-notes entrances in Scheherazade during a (the second) rehearsal. I turned to them and said, "I don't know what else I can do to help you guys; I'm breathing in time, and putting the loud-as-hell downbeats right where they belong...
...no rebuttal from any of them, but (also) no more f-ups.
(OK...I did make one more suggestion: "Just double-toungue nine times, rather than trying to fit triple-tounging into it.")

bloke "Would that have classifed as a 'mean tweet'?"

Rick Denney wrote: ↑Wed Jan 17, 2024 2:51 pm … I'm too focused on other things to spend the time it would take to become fluent with the treble clef.

I solved that one by playing the Eb treble clef part on whichever tuba I like (F, now), acting like it’s bass clef. Then I only have to worry with the accidentals.

All lead sheets (unless someone is anal, and writes them out in C, B-flat, E-flat, and bass clef) are in treble clef.

The overwhelming majority of western music is in treble clef.

Avoiding learning C clefs is just a bit limiting, but avoiding learning to read "THE" clef is super-limiting.

bloke "There are no lead sheets in F...French/English Horn players can't read changes anyway...and please don't reply with exceptions."

My experience: Many (MANY!) years ago, I played in a community band which had (in my opinion) too many tuba players (GASP!). Tried as I might, I (we) could not get several players to play in tune. I (we) suggested using the 4th (&/or 5th) valve, and/or pulling slides for certain pitches, to no avail. I played the concerts to which I committed, then bailed on the band. The last concert I heard, the tuba section was dreadful, which lead to the whole group being terribly out of tune.

As much as I really missed playing with 'the guys,' simply, I could not stand it any more. Sometimes one has to make that choice.

Respectfully Submitted.