Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Sensamaya'


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Posted by Rick Denney on July 03, 2002 at 16:13:36:

In Reply to: Re: Re: Re: Re: Re: Re: Re: Re: Re: Re: Sensamaya' posted by BP on July 03, 2002 at 15:20:32:

Nothing I said suggested that string players are better. Nothing I've seen in this thread suggested, for example, that Kronos is likely a better thing to listen to than Norm Pearson. With all due respect, you brought that presupposition to the discussion. Your words indicate that you assumed that Joe (and myself) were making our arguments because we thought string players were better. Why would you assume that? Have you been the victim of string snobbery? Of course, tuba snobbery is not the answer, and frankly I see a lot of it in the generation coming up. A lot of it is, I'm sure, just the natural assumption of the young that they are further along than their elders. I was guilty of that, too, as most of us were. Time gets its revenge--the generation that follows yours will think the same thing.

I figure there's a pool of truly gifted musicians in the world, and it's probably about the same size now as it has ever been as a percentage of the population. When a larger share of that pool select the tuba as their instrument, then there are more truly gifted tuba players. I suspect that this is the case, and to that extent I agree with you.

I have to wonder why they would, though. Let's say that I'm truly gifted, and can probably be a top musician on any instrument, playing the melody in a high-profile situation. Why would I choose an instrument that with rare exceptions plays accompanying parts, and is often altogether silent? On the face of it, that isn't a rational choice.

The best tuba players seem to have been drawn to the sound of the tuba, and that in many cases (but not all) superseded the limitations in the role of the instrument. Their role was as unique in terms of sound as the melody is to a violinist. That's what keeps me playing the tuba, despite my obvious limitations.

Also, outstanding musicians beget outstanding musicians. When outstanding musicians choose the tuba, they demonstrate its potential, which will persuade a few more of the most gifted musicians to select the tuba in the first place. This builds momentum, and we are seeing the benefits of that momentum. And these musicians will expand the horizons and opportunities for tuba players that follow, but demonstrating to the public a higher potential. This is all to the good. Those who follow stand on the shoulders of those who went before.

But that doesn't give us the right to be snobs, or to think that can't still learn anything from musicians who chose other instruments. A little humility is not a character fault, after all.

Rick "a mediocre tuba player but a pretty good judge of character" Denney


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