The number of places for both professionals and non professionals to play is limited. One, the professionals, is limited by the number of gigs and union activities; and the other by the shear economics of creating playing opportunities. Professionals, just like the non professionals, need to keep their chops up with playing opportunities in the form of rehearsals, just as us non professionals use them to explore our craft.
And I understand the baseline: we all enjoy playing to our levels of our ability, and pushing those levels to progress in our study of performing music. Otherwise we would not be involved with the continued process of learning the trumpet. And, we are all competitive in nature: after all we chose to be trumpet players as opposed to playing the banjo or piano.
How about if you adopt the section, play the rehearsals and give them the benefit of your example/talent, and let everyone else play on the concerts? They get the benefit of your experience, and you get the benefit of playing regularly in rehearsal. Your reputation is enhanced and you do not have to disclose to others that you, as a professional, play without being compensated.
I'll admit that this is an issue for me. In the last six months, three local orchestra's have closed shop and twice I have been excluded from a community college orchestra setting because of professionals, unregistered in the class, "just sitting in". I may not have the time to practice as a professional does or the street credentials, but just practicing is not where it is at.
Think about it,
I hope that you did not take my post wrong about being humble. I enjoy playing with a group where I towards the bottom of the talent pole, I pick up so much from the better players and become a better player myself. I was relating how one of the local guys would come in and talk down to us and treat us as though we should bow down and worship him [that grew old really quick]. I'm currently playing in a big band where I'm the young one  and just about every other player has played with really good bands in the 40s-50s and 60s. I have really learned stylizing [is that a word?] and they are so nice to me, it is a pleasure playing with some real talent that is eager to share but not critical.
formerly known as old geezer Dave
Chicago Benge 33XX
Blessing 1580 [ Powell modified ]
Getzen 800s ml Cornet P02819
Yam. 231 Fl. 15383
King Master Cornet 295628
assorted other horns
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