"You know why our high school bands play with such atrocious rhythm? You know where it starts? Where do you think it starts? Right here. Right here. Just listen to them! I don't care what parade it's in. just listen to them! It's abominable! It's a disgrace! There's no rhythm!
"All you have to do is count four: one, two, three, four; one, two, three--I heard Mr. Toscanini spend 45 minutes on eight bars of the Italian Symphony with the NBC Orchestra, and he didn't get to anything but rhythm. These are pros--finest pros in the world! Now, they know better, but they never had anybody discipline them to do it right. And when they came out of there, they knew they had it.
"Demand of yourself! How much do you demand of yourself of what I'm talking about? Not even 10 percent, some of you. You have a negative approach to it to begin with. You see, I'm uncompromising with myself. It'd be easy to stand up here and let you go: 'Have a jolly good time! Go and see Los Angeles!' And go out and play like a bunch of rummies!
"I want to know how you can dedicate yourself to your forthcoming positions in the musical world, when you can't dedicate yourself right now to what you're doing in a simple little march. I want to know how you expect the students who are going to be under your tutelage in the next 40 years to come out with any ideals. I'm talking to the whole gang of you!
"The world is full of people who do things just about right. Just about. And a few on the top do them just right--most of the time. Nobody's perfect! When are you going to start to demand of yourself what I demand of myself? When are you going to be as uncompromising with what you do as I am uncompromising in what I hear and what I insist on? When? Are you waiting for some miracle? The miracle will be when you demand of yourself everything you've got of yourself. That'll be the day. And I don't only mean 5 minutes of 10; I mean 10 minutes out of 10; I mean 60 minutes out of an hour, 24 hours a day, at least all of your waking hours.
"I'm talking about a little quarter-note. I'm taking a lot of time here, and I don't care if we take all afternoon. Twenty-five years later from now we won't remember a lot of things about the Rose Bowl. We might remember this. It may make the difference between what we are and what we might have been. That's my job.
I don't want it just about right! To me, just about right is terrible!
"The man who put the gate down one second late and wiped out a whole family across a railroad crossing was just about right. He was only one second off; he was almost right. We've had pilots hit peaks. One out here in Utah some time ago. He was just a little bit off, just enough to kill a whole planeload of passengers.
"To me, you say, 'Dr. Revelli, you think it's that crucial?' It is for me!
"Now, nobody's killed when you play a half-note as a dotted quarter. But you might, from learning to play a half-note a full half-note, make the difference in the lives of 50,000 little kids. And I think this is very serious in education. If all you were going to hurt was yourself, then go and play alone.
"There's going to be 100 million people hearing you. They hear the half-note right or wrong. They don't know why it's right or wrong, they just know it is; they just know in one instant it sounds good. There are 50,000 truck drivers that are going to be listening to this band on New Year's Day. They don't know one note from another. There'll be 100,000 plumbers. They don't know one note from another. Does this forgive me, then, for playing wrong?
"My responsibility as a musician, one that's serious to his art, is to play that right! And I say that this is art. Anytime you pick up that horn and you play a tone, you're dealing with music, and I don't care if it's in a honky-tonk jazz band, or whether it's in the New York Philharmonic, or whether it's in a clarinet quintet, or what--and it is your responsibility to play that right, not just-about-right.
"How do you initiate and develop these attitudes? By being honest with yourself. Just be honest with yourself. Don't even play it. Keep the horn in the case. Put the horn in mothballs until you have made up your mind: This has to be right! You don't piddle with music--it's a good-time-Charlie business, and for me, the wonderful good times come out of hearing somebody play beautifully. I don't care if it's "Stars and Stripes," "The Victors" or what it is. I mean, there's a pride. And this guy knows he's good! And nobody can take that away from him.
"When they play sloppy and don't care or don't know--a great many of them don't even know, they don't know how bad it is-- they can be forgiven, but more they should be pitied.
"But when you do know, and you play badly, then you have no right to be forgiven, you're only to be pitied."