 The Clarinet BBoard
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Author: bmcgar ★2017
Date: 2007-08-13 20:58
Folk,
I'm putting Web pages together listing some items of etiquette for performers and audience members for use primarily by my students, but I hope that others will look at them also...and they might be helpful for your own students.
When I get the rough draft done, it will be accessible by a link on my Web page, http://home.comcast.net/~bmcgar/Etiquette.html
I hope to post something by 8 p.m. EST today.
Please let me know what you would add to this list.
I want to keep it simple, so please let me know about the major things you expect out of your colleagues in rehearsals and performances, and what you think audience members should know about audience etiquette in a performance of, for lack of a decent word, "serious" music. (No need to slam me on the adjective. I know that jazz and everything else is "serious." I just can't think of a better word right now.)
Thank you for your help.
B.
Post Edited (2007-08-14 00:31)
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Author: Tobin
Date: 2007-08-13 21:25
This is a tiny thing, and maybe one of the least important of many good ideas that others will offer:
When you are done performing and the audience applauses, DON'T SHUFFLE YOUR MUSIC. Look at the audience and smile (whether or not everything went as you would like).
James
Gnothi Seauton
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Author: coasten1
Date: 2007-08-13 22:00
I didn't look at your document, but the audience should know:
1) they should not applaud until the director's baton comes down at the end of a piece. Sometimes there are breaks or grand pauses in the middle of a piece and you have 1/2 the audience applauding.
2) similar to #1. if there are several movements to a piece, the audience should know to only applaud at the end of the last movement.
3) whether they are there because they want to be or because they are friends or family, they should respect the time and effort the performers have spent to perform and they should not be talking, shuffling around or chasing after their children. If they have to do that, they shouldn't be at the performance.
My two cents.
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Author: Ski
Date: 2007-08-13 22:17
Audience:
1. Turn off cell phones. Let me rephrase that. Turn cell phones OFF. This is a wholly different concept from having your cell phone turned ON and set to "vibrate". The operative word is "off". Completely off. This prevents bored audience members from disrespecting the performers as well as interested audience members by opening their cell phone (which will blare light in a darkened hall) to check the time, play a game, delete old text messages...
2. If you have a cold, take some drugs so that you're not hacking or sniffling through the performance. It's not your fault that you have a cold, and you have our sympathy. Really. But improvisational sneezing or coughing, no matter how in tune or in time with the orchestra, is generally not appreciated.
On the subject of applause... If a performance of a first movement of a symphony concludes with a particularly rousing finish, I don't see why the audience should be prevented from clapping. Why deprive the performers of the audience's enthusiasm? Personally I think this is a bit of tradition that should be gracefully retired.
As far as musician's behavior is concerned... well, hopefully most of us are out of high school band, so really, what needs to be said? Don't shoot up on stage? Don't kick the chair of the orchestra member in front of you during their solo? Don't look into the audience and wave to your mother during an extended period of rest? (hee hee)
Post Edited (2007-08-13 22:21)
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Author: EEBaum
Date: 2007-08-13 22:46
Could we see a draft of it so we know what's been covered?
I'm a lot looser on concert etiquette than most, but rehearsal etiquette is where I get peeved. In essence, my thoughts on "how not to waste everyone else's time":
People should get to rehearsals. On time. In situations where there's a commute for lots of members, they should call before rehearsal starts if they're running late. The person running the rehearsal should have their phone on to receive such calls and distribute their number. Missing rehearsals is not an option. It's allowed in special circumstances (e.g. vacations, family deaths, illness) depending on the nature of the group. When someone's missing, the group leader should be able to say "So and so is missing because ______" and it should sound to the group like a reasonable reason to be missing. And it should *always* be declared to the person in charge as soon as possible, always before rehearsal starts (ideally weeks in advance). A substitute should be sent if at all possible.
Missing a substantial portion of rehearsals? Perhaps someone should substitute for all the rehearsals and the concert. It's possible that, while you missed rehearsal for a friend's birthday party, someone else in the group rescheduled their wedding around it.
If you make an obvious mistake, nod an apologetic "whoops" to the director/ensemble, and attempt to fix it on your own. As a member of the ensemble, if you're confused, keep playing with a concerned look of "I'm confused" toward the conductor. Do *not* stop playing and demand that the whole ensemble halt all action because you got lost. Chances are, they'll stop soon OR the conductor can get you back on track. Until then, work on your disaster recovery skills.
If you require clarification, assistance, or wish to try a passage again, request it the next time the music stops. Keep the request short and simple. No need to give an existentialist treatise on why you were lost. No need to even say you were lost. "43 was a bit funky, could we try it again?" should suffice. If the conductor says "no, not now," deal with it.
If you require EXCESSIVE clarification, assistance, or retries, this may be a sign that you need to up your woodshedding time. Rehearsal is NOT practice time. Come ready to play it. Get through this rehearsal as best you can and hit the practice rooms. "I'll have it for next time" is an acceptable catchall, but only works if you actually put the effort into fixing it. If you don't fix it and don't seek help, you should be booted out.
On the whole, rehearsals should be focused. However, ensembles can be social, if the ensemble works like that. When the music has stopped (and ONLY when the music has stopped), if particularly appropriate (especially in smaller groups), there can be moments of publicly shared chattiness. Keep it short (ideally, the director should be keeping it short for you). You, personally, may be in the ensemble as a sort of social hour, but some of the ensemble may be there for purely musical purposes.
We all know the room is hot, cold, breezy, stuffy, and smelly. Complain about it before or after rehearsal. For that matter, that's the only time any non-musically-related complaints should be aired.
If the director asks you to try something, try it. Then, optionally, comment on how you think it went.
If this list is going out to non-wind players: For people running the rehearsals, if providing refreshments, they should be provided during a decently long break or, preferably, afterwards. If rehearsal hasn't ended, highly messy foods should be avoided. I once played in a group with 10 minute breaks that offered sodas and Doritos. Not cool.
HOPEFULLY, these things should be a given (in many groups, they are). I'd suggest emphasizing such a list only if things become a problem.
-Alex
www.mostlydifferent.com
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Author: bmcgar ★2017
Date: 2007-08-13 23:15
Lots of good stuff that I'll definitely use.
Posting will be at 8 p.m. EST, when I'll also give the URL again.
B.
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Author: Ski
Date: 2007-08-13 23:39
Ah, right, there is "that" side of rehearsals... So much for having fond memories of the behavior of musicians on my last couple of gigs. OK, here goes...
Musicians:
String Players
1a. Do not think for even a millisecond that the conductor will accept your playing a long glissando in lieu of written-out 32nd note scalar passages.
1b. In this circumstance, do not suggest to the conductor that "no one will hear the difference".
2. Violists: when you've been given advance warning of a scordatura, do not show up at rehearsal and start rolling your eyes around in your skull as you exaggeratedly point at the score and complain to the player next to you about having to tune your C down to low B. Especially if the musical director is standing right behind you.
In General...
3. Tuning: if the conductor asks you to check your tuning, do not under any circumstances debate the issue. Even if you think they're completely wrong and that you couldn't possibly be playing more in tune, re-tune your instrument, string, timpani head, whatever...
4. Music Contractors: if you cannot manage to hire that 3rd violist for the recording date that you've had 3 weeks of lead time to contract, do not for a moment expect that the musical director will be happy that you've hired a violinist who can't read alto clef as an acceptable substitute. In such circumstances it's understandable that you might do your best to find a violinist who happens to also own a viola. However, the viola should not have the price tag still hanging from it, and better yet, the price of that viola should be a tad bit higher than $1.99 (based on a true story).
5a. Just because you're having trouble playing a quintuplet run of 16th notes into the downbeat of the next measure, do not tell the composer attending the rehearsal, "What you really meant to write was..."
5b. When the composer insists that you play the part as written, do not suggest that "no one will hear the difference"... (can you tell I get this a lot?)
6. Do we really have to tell you to play tight with my downbeats? Or am I just waving my arms for aerobic exercise?
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Author: JJAlbrecht
Date: 2007-08-13 23:45
For the musicians:
Don't speak with other musicians during rehearsal, especially when your section has a long rest and is waiting to come back in. I sit in front of a trumpet section that does this regularly, and it is extremely annoying. Then, while they are yakking it up and the conductor stops to go back and replay a section, they always have to have him repeat where we are starting; if they had just been quiet and paid attention to him in the first place, repeats of every direction would not be necessary.
This should go without saying, but group rehearsal time is NOT the time to practice your music, as if you have never seen it before. If you only rehearse once a week, you have six other days to practice the music. Do it then, not at the rehearsal.
As much as possible, make sure your instrument is in playing condition prior to rehearsals and performances. Don't bring in your horn and expect someone else to diagnose and fix the problem on the spot. Take it to a shop beforehand. Along that line... get preventative maintenence done at least once a year by a skilled tech!
If your group has a specified uniform for performances, WEAR IT! Don't wear something even slightly outside of the normal uniform. It makes the entire group look sloppy, and it make you look like a prima donna who is "too good" for the rest of the group.
If you can't play something (a particularly difficult passage in a piece, for example) just don't play that part at all. It sounds much worse to hear the mistakes than to have the part just a little too light because fewer section members are playing it.
If you have a tin ear... make sure someone else is listening when you tune up. Nothing is worse that out of tune ensembles.
Try not to tap your feet in time with the music you are playing. It looks amateurish.
For the audience:
Power down your sell phone, or leave it in the car. Unless you are on the waiting list for an organ transplant, very little is so important that it can't wait until after the concert to check your voice mail.
If you have young children who can't be still for a formal concert, hire a babysitter, or don't come to the concert with them. If you are part of a two-parent family and can't swing the babysitter, take turns staying at home with the little urchins, while the other parent attends the concert. You can always take the kids to childrens' concerts until they learn how to behave at performances. When you do take kids, set a good example of proper concert manners!
NEVER eat or chew gum during a concert (it's amazoing that this even needs to be said).
Keep your $%##*@*(#%&* mouth shut while the music is playing. There is nothing so important that it can't wait for a break in the music, unless you are having a heart attack.
OK... I've vented enough for now! ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif)
Jeff
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Author: EEBaum
Date: 2007-08-13 23:48
Ski: As for #6, that's often a matter of the conductor and the ensemble coming to a mutual agreement on how much of a delay to have. Different for every group. It can be quite special for a musician to try to guess when the downbeat is coming, and most of the time the group will find an appropriate small delay they can all deal with.
-Alex
www.mostlydifferent.com
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Author: bmcgar ★2017
Date: 2007-08-14 00:33
I've posted a rough draft on http://home.comcast.net/~bmcgar/Etiquette.html
Please comment. When I get finished and have something viable, I think it might be fun to poll the Board and come up with a TOP TEN list that I'll post on the site.
B.
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Author: EEBaum
Date: 2007-08-14 07:08
Warming up onstage vs. offstage is a matter of preference. I've played in groups that greatly preferred each. Wouldn't put that down in rules of etiquette unless you mention that it's specific to your ensembles. When the tuning note comes, warming up is over.
For the "During the event", are you talking rehearsal or performance? There's different etiquette for each. For example, "During a long solo or a quiet passage when you’re not playing, don’t talk to your stand mate, play around with your instrument, or move your chair or stand around." is an example of good etiquette in a rehearsal, but doing ANY of those things during a performance is out of the question in most circumstances. For a performance, "Do not make significant unnecessary sounds of any kind" should suffice.
"Listen to what’s going on around you and adjust your playing accordingly." is a matter of musicianship, not etiquette.
Quite a bit of the audience etiquette section is a matter of opinion, in my opinion.
I'd try to consolidate the items about unruly children, as well as the items about flash photography, cell phones, and applause. It gets a bit obsessive and snippy, and with that much focus on them, the reader will probably forget the other items. I did.
I might also ditch the anecdotal stories.
-Alex
www.mostlydifferent.com
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Author: Mike Clarinet
Date: 2007-08-14 07:50
Here's one for rehearsals, and probably applies more to the amateur / community setup than for pros:
If you take music away to practice at home and then find that you cannot make the next rehearsal, even for the most extreme best of reasons, move Hell and high water to get the music back. Drop it with a colleague. Call in at the rehearsal even if you cannot stop. Even if you are normally the only person on your stand, there may be a new member at that rehearsal or the musical director may ask someone else to cover your part.
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Author: DavidBlumberg
Date: 2007-08-14 11:38
What would be etiquette with someone who has a handicap? Here's a true example that I witnessed at a Curtis Institute Concert which was at the Kimmel Center and cost $25 to attend:
There was a woman sitting fairly close to the stage who had a breathing aparatus. Each and every breath resounded in the audience. I'm talking Darth Vader here, not a quiet barely noticable sound. My seat was over 50 feet away from her and it was clearly heard. I overheard during the break a couple talking about her who had said something to her and gotten a really caustic reply about it.
So, where is the line drawn? Can someone with Tourettes attend a public performance? Really loud breathing machine? At what point does the rights of a handicapped individual infringe on the rights of many others? Does that even matter?
I felt bad as the concert was really affected during all of the softer passages from the "noise". As it was a paid concert, is there a difference? Obviously the woman had to breathe, but should it take place in a classical concert?
http://www.SkypeClarinetLessons.com
Post Edited (2007-08-14 11:40)
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Author: skygardener
Date: 2007-08-14 13:07
There is one thing I have seen some performers do, from college grads to seasoned pros, that I need to have explained to me.
What is the need to change into a different outfit for the second half for a concert of classical music? I have seen this so many times and it just seems so unmusical to me... "I can play piano and I am a good shopper, too! Yeah! Notice my amaizing sense of color."
Post Edited (2007-08-14 13:08)
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Author: Bassie
Date: 2007-08-14 14:12
Sits, stands, walking on and walking off - a little attention here looks so professional. Conductor raises a hand, everyone stands right away.
Also... Tune! Don't just all play the note together and do your best to 'lip it in', hoping for the best. Personally I can only tune a section if everyone plays the note /in turn/. The number of groups I've seen who all play the tuning note as if just playing it will make it better... ;-D
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Author: Ski
Date: 2007-08-14 14:29
@EEBaum, thanks for that insight into the conducting/downbeat "agreement". I must say I'd never heard of this... True, I don't conduct much -- usually only in a pinch when the budget for one of my recording projects can't afford a conductor. I'd always thought that my body language would have clearly suggested that I'm looking for people to follow me like a metronome, where click and note coincide. Well, I'll know for next time. Thanks.
@ David B., that's a really tough one. Was the woman was unconscionably selfish for attending? Hard to say without more details. Maybe it was the 3rd trombonist who was responsible for her attendance (she's his great aunt, on her last legs, and her last chance to see her nephew play). Who knows, eh? Anyway, these days, saying anything even mildly critical of someone with a handicap can get someone into hot water ('specially on the Internet, where probably even my use of the word "handicap" will cause someone to go apoplectic). The only thing I could think of is that the venue have an admittance policy that restricts noisy medical devices, or states in polite terms that people with "afflictions which are likely to disturb the greater part of the audience during a performance are asked to consider refraining from attending". But of course, if someone wants to make that policy a cause celebre, fuggedaboudit: lawsuits, bad/jingoistic press, etc. etc. etc...
@ Skygardner, the change of outfit? That's showbiz! Why not entertain the eye as well as the ear?
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Author: DavidBlumberg
Date: 2007-08-14 15:11
It was a no-win situation.
One piece of etiquette that should be adhered to is:
Follow your Principal Player. Never give him/her attitude even if you disagree. I've never been in that position (having a 2nd player be disrespectful), but know a couple of players (major) who have.
http://www.SkypeClarinetLessons.com
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Author: skygardener
Date: 2007-08-14 15:30
to Ski from Sky-
Why not change outfits? It looks stupid- I am trying to concentrate on Berg, not the performer's verson of fashion. I have seen a performance in which the performer changed 3 times- that means 4 outfits!
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Author: bmcgar ★2017
Date: 2007-08-14 15:57
David Blumberg wrote:
"...So, where is the line drawn? Can someone with Tourettes attend a public performance? Really loud breathing machine? At what point does the rights of a handicapped individual infringe on the rights of many others? Does that even matter?..."
My politically incorrect response is that, despite what we would like to be true, and despite that we would like anyone, disabled or not, to be able to attend such functions, a person with a disability that will disturb an entire audience in such a basic way--interfering with the music at a concert, as you've described-- should not attend such an event out of simple consideration for others.
After all. disabled or not, we are all people, and we owe each other the common courtesies. If we cannot provide them, we should not put ourselves into situations in which they are required.
Let the flaming begin!
B.
(An addicted pipe smoker who, though, I have the "right" to, will not smoke outside if there are people nearby, or in restaurants, even in the smoking sections.)
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Author: skygardener
Date: 2007-08-14 16:38
So when can the disabled enjoy art? A person on a breathing machine is in a different place in life and, I argue, is probably 'getting more joy out of it' than we healthy folk. Why do WE have a right to click our tongues at THEM? They might not get to see much more of anything.
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Author: DavidBlumberg
Date: 2007-08-14 16:59
That's why there are books, radio, and television.......... at home. A person using a really loud breathing machine to me is fine in an art gallery - Not in a tennis match or a quiet concert.
There were monitors in the lobby which she could have watched and listened to the concert without disturbing others.
I felt bad for her and the situation that we were in.
http://www.SkypeClarinetLessons.com
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Author: Ski
Date: 2007-08-14 17:42
Quote:
So when can the disabled enjoy art? A person on a breathing machine is in a different place in life and, I argue, is probably 'getting more joy out of it' than we healthy folk. Why do WE have a right to click our tongues at THEM? They might not get to see much more of anything.
I don't think it's a matter of clicking tongues (i.e., "showing disdain") at people with highly unfortunate health problems. Not at all. Common courtesy, if not common sense, dictates that the noise of machinery isn't compatible with a classical music concert (for example). Rock concert? Sure. But I can't imagine sitting through a performance of Beethoven's 3rd piano concerto, second movement and hearing "VRRRRRRRRR" at the rate of someone's breathing as this very delicate and sensitive music is being played.
Would it not also potentially be distracting for the performers who have practiced countless hours to express their artistry?
I think bmcgar said it best when he wrote:
Quote:
After all. disabled or not, we are all people, and we owe each other the common courtesies.
I daresay that the expectation of experiencing of a classical music concert should not include the possibility of it also becoming a sympathy fest for 100's or 1000's of paying patrons. Sympathy has its limits, and it has its place.
And an infirmed person isn't above being arrogant or selfish (which may or may not be the case here).
Would I want to deny any person the enjoyment of a concert? Never! But common sense and courtesy make it plain that the majority of paying patrons' enjoyment of a concert shouldn't be trumped by one person's affliction.
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Author: Mark Charette
Date: 2007-08-14 18:00
All I have to add is that:
1) It doesn't happen frequently and
2) I'm lucky enough to have a very good "tuning" implement - the grey matter between my ears - that I've trained to weed out extraneous noise if I don't want to hear it. Just ask my wife about how good it is ... 
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Author: Ski
Date: 2007-08-14 18:51
Same here David. In fact, I wish that when I played a C on the clarinet I could tune out the fact that it sounds like a Bb. That killllllllllls me... ![[grin]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie5.gif)
Seriously, though, I have plenty of gray matter (or so I'm told). But for me, hearing is not an intellectual process. If the sound of that apparatus was as loud as I imagine it would be, I'd probably have to leave the concert, with no disrespect meant towards anyone.
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Author: Mark Charette
Date: 2007-08-14 18:52
DavidBlumberg wrote:
> Maybe it's my musical training to be
> aware more, maybe it's just me
For me, it was my musical training that allowed me to turn parts of my sound recognition off. Perhaps rhythm players learn the technique out of necessity - I don't know - but the rhythm players I've worked with could all 'tune out' specific sections or sections playing a different beat.
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Author: tetiana
Date: 2007-08-14 22:06
One thing that I have seen several times that I find really annoying and discourteous: orchestra players in the pit (during an opera), who pull out a paperback and read during a performance, probably when they have a longish rest or an aria or two to wait out before they play again. I've also seen a pit player showing vacation pictures to his neighbour! Please don't assume that because you're in the pit, the audience can't see you. The view down into the pit from the first and especially second and third balconies, is excellent. And don't forget: opera goers often have opera glasses!
tetiana
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Author: EEBaum
Date: 2007-08-14 23:28
A paperback? HA! I sat in the third balcony for a show once where we could see the percussionist playing gameboy. The best was when he paused it with one hand, grabbed a timpani mallet with the other, played one note, set it down, and resumed his game, all in one fluid motion.
Given that he'd probably played that show about a thousand times and had stretches of probably a half hour with nothing to play, I sympathize.
-Alex
www.mostlydifferent.com
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Author: susieray
Date: 2007-08-15 02:16
David Blumberg wrote:
"I have a hard time tuning out things."
LOL you mean like the sound of my camera shutter, Dave? ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
Sue
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Author: OmarHo
Date: 2007-08-16 03:54
If my Youth Orchestra followed these rules, we would barely have any players left. The other day, the rehearsal started at 11am, I was the only one in the woodwind section there 10 mins to 11 am set and ready...It wasn't until 11 am that everyone started coming and setting up...
I also agree with the annoyance of having to play with unprepared people. It's a bummer when you work so hard to get your part ready, when your colleague is playing the music as if he's never seen it before.
Another thing, you may add is, to keep in mind that you're playing with other people. What I mean is that, it may be distracting for other people if you are "being expressive" and moving around a lot with your instrument.
But I have a question, what do you do when your colleague is not pulling their weight and has poor professionalism? Do you rat them out or just let the conductor do the job?
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Author: Mike Clarinet
Date: 2007-08-16 13:42
Omar:
In my community band (the only band I play in) the musical director has the last word in chair placement. That is laid out in the rules of the band, and when people join, they accept the rules. Anyone not pulling thier weight gets demoted. If they are deliberately disruptive, they are asked by the band committee to leave. I have known this happen on 2 occasions. Anyone who doesn't like the rules has 2 choices: 1: leave (or not join) or 2: abide by the rules until the next annual general meeting and then try to pass a motion to change the rules. Fortunately apart from some legal requirements, our band rules are basic common sense and courtesy.
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Author: bmcgar ★2017
Date: 2007-08-17 05:34
Mike, what you describe sounds like heaven.
I played in the local community band for a while for something to do on Wednesday night, but quit when I couldn't stand it anymore. (I still sit in from time to time, but it only takes a few minutes to remember why I quit; I usually only make it to the first break before I pack up and leave.)
- No discipline whatsoever, and a studied reluctance to shine a light on bad behavior and bad playing by both the members and the director.
- The director's idea of "rehearsing" is to request that people practice their parts and follow a suggestion or two of his, but once mentioned, they are never mentioned again for fear of "offending" a member.
- Seating is up to the members. The best clarinetist in the group routinely sits in the second or third section because he doesn't want to seem "uppity," and anyone--even first time attendees--can play in any section they please (the least capable usually choose first).
- Although many others have done it also, one particularly obnoxious guy -- a big shot doctor in town -- comes to performances, never to rehearsals, and TAKES the first and solo parts from the regulars, with nary a raised eyebrow from the director.
- The band recycles approximately 80% of the same Jr. Hi. level music through the seasons, year after year. (A friend of mine and a founding member of the band says that they've played this 80% every year of the 16 years she's been in the band.
- New music consists of orchestral transcriptions that are impossible for all but a few members to play. Most are replaced by goofy novelty numbers like "Immer Kleiner" or "Two Little Bullfinches," but when the director finds one of his favorites orchestral works in transcription, he'll program it, no matter how hard it is and how awful it sounds.
In short, no real rules, no thought, no direction, no expectations, no discipline,...and no musicality.
Guess how the band sounds!
You're very lucky, Mike.
I'll take the sternest dictator as a director at the drop of a hat over someone who doesn't "direct" at all.
Which makes me think I should add a "Director Etiquette and Best Practices" section to the Web page.
B.
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Author: marzi
Date: 2007-08-17 15:18
the least capable players sitting first, yes, thats why i quit one community band, it gets ridiculous when they complain about the "high" notes. HELLO?
And this wasn't tough music by any means, but counting wasn't there either...
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Author: davyd
Date: 2007-08-21 01:35
"Director ettiquette" ... hmm ... probably an oxymoron. But here's a few items.
1. Speak up! If what you say can't be heard and understood beyond the second row, there's no point in stopping everything to say it.
2. When you're asked a question that is of general interest (which is most of them): before you answer the question, repeat it, so that everyone hears it. That way, you won't have to answer the same question repeatedly.
3. Let your staff (librarian, stage manager, etc.) do their jobs. Don't do their jobs for them unless there's some sort of crisis.
4. If you're not prepared and ready to start on time, how can you expect any of the players to be?
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Author: GBK
Date: 2007-08-21 01:53
My 4 pet peeves regarding director/conductor etiquette
1. Have a game plan - Nothing annoys me more in a rehearsal than a conductor who has no idea what they want to work on. When a conductor is frequently looking through the score, trying to find trouble spots and areas which need work, it is clear that he has not prepared enough with a formalized plan for rehearsal.
2. Do your homework - Know the tricky entrances where players could possibly require a visual cue, know any changing meters, tempo changes, dynamic markings, etc... If you are unsure of how many players you want performing in a soli section, you need to spend more prep time at home, before getting in front of the group.
3. Consistency - When you decide on an interpretive detail (rubato, sub divided beat, etc...) and the players mark it in their parts - do it all the time from that point on. Players do not like surprises - especially during the final performance.
4. Use the printed rehearsal numbers/letters - Nothing wastes time more than having the entire group count "21 measures before Letter E" as a place to start, when you can go back 7 additional measures and start at Letter D. Use the printed rehearsal letters/numbers. It's quicker, more efficient, and less prone to having someone still trying to find their place when everyone else is ready to play.
To all players - You have my permission to email this to your favorite offending conductor ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
...GBK
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Author: Pam H.
Date: 2007-08-21 02:17
Love the rule about cameras. We were playing an outdoor concert (The Pops Orchestra that I'm in) and someone was behind the group with his camera shutter set on continuous and the flash on. We were under a tent. He must have continuously shot pictures through at least two songs. I was about ready to turn around and kill him myself.
Another piece of ettiquette for rehearsals is that the conductor rules. If he blows through a fermata, everyone blows through it. You watch and do what he wants and don't question every time.
WATCH THE CONDUCTOR. I'm amazed at the people who think they can play without watching. Get your head up!
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Author: bmcgar ★2017
Date: 2007-08-21 04:31
I'll add the stuff about conductor/director etiquette. It's right on!
Thanks.
B.
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Author: Brenda ★2017
Date: 2007-08-21 12:16
Thanks to all, this will be something to eventually print out and distribute to both students and our ensemble. It's good to get an overview of others' experience, so it doesn't appear to be coming from one person.
It seems that a good compromise for those with disabilities is to either have a separate location available for these persons so they don't distract others, or have smaller ensembles go out to visit some of these homes so that they, too, can enjoy good music. If it's Aunt Ethel in her last days of life, perhaps she would enjoy a small group going out to her where she can gather a few friends around to enjoy her nephew George's music.
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Author: DavidBlumberg
Date: 2007-08-21 12:50
Back to the breathing thing, that woman didn't look at all like she was even near to death. She was "soprano" heavy, in her mid 60's, maybe a smoker in her 50's I don't know .......... Too bad that the thing wasn't quite. The noise wasn't her sucking in air, it was the maching making sucking and clicking sounds. (I have a CPAP unit for sleeping at home and it's dead silent in comparison).
If it were a free concert than the etiquette "laws" should be different, but not for a concert where some tickets were $45.
http://www.SkypeClarinetLessons.com
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Author: JJAlbrecht
Date: 2007-08-21 14:58
David has a point. I use a CPAP too, and it isn't exactly silent. My wife and I have nicknbamed it "Darth Vader" for the noise it creates as I am breahting. If this was loud compared to the CPAP, it would be extremely distracting to everybody.
Jeff
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Author: bmcgar ★2017
Date: 2007-08-22 01:13
I'll be getting all this codified and designed for the Web, and will post it this weekend.
I'll post to the board when I get it up and provide the URL again.
Brenda, I might as well do a .pdf version, too, if anyone wants to distribute it. The link will be on the page.
Cheers.
B.
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Author: Bassie
Date: 2007-08-22 12:43
I keep thinking of more from my own personal experience...
1. When the conductor raises the baton, raise the instrument (and vice versa) Even in rehearsals. Even if you know how he rabbits on even with his arms in the air. It's just good form.
2. Breathe in as slowly and as early as possible before each entry. Nothing shouts 'amateur!' like the rush of breath at the start of a piece. (So when the conductor raises the baton, breathe in!)
3. Write notes of things the conductor says. Correct mistakes in the part, don't do them from memory [cos in the pressure of a performance, you're bound to play the part as written by mistake]. Mark places where you keep misreading the music [not just 'making mistakes' - additional notation in fingerbuster passages is rarely helpful. I mean DS's etc.]. Mark them bigger if the first marks don't work. */Use soft pencil./*
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Author: Bassie
Date: 2007-08-23 12:02
> the ensemble breathes together, on the upbeat
I'll have to think about that one... you mean for example if it's a very slow beat?
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Author: D
Date: 2007-08-23 20:47
no scratching during performances.......always off putting
allow time for staging. It drives me mad to get on the stage and try to take my seat to find it either isn't there (typical during a concert with different groups) or it is in the wrong place and wrong angle and the space is too restricted to move it to be able to see both conductor and music at the same time. I know this is not easy, but being able to see both is vital to the performance and the concert organiser (conductor/school teacher/vicar/theater manager etc) should allow the musicians time and space to shuffle. Either before the audience arrive, or if necessary a controlled shuffle when all are in their spots. Controlled, deliberate and expected by the orchestra will allow you to get away with quite a lot.
And a note to the people who decide what a concert uniform might be. Please allow the facility for women to sit with legs apart! Insisting they all wear short tight skirts is not going to get the best out of everyone. Normally I would prefer to see all flesh covered up except the obvious neck and hands.
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Author: bmcgar ★2017
Date: 2007-08-24 04:48
Folk,
I've posted a not-half-bad version of "Etiquette" on the Web at:
home.comcast.net/~bmcgar/Etiquette.html
(Although recognizing the validity of all of the items you've posted, I've stuck to the basics to keep the length down. But thanks to all of you.)
I still haven't had time to do the "Director/Conductor" section, but I thought that some of you might get a kick out of the audio file link in the "Professional Behavior for Performers" section, fourth item from the bottom of the section.
PDF still to come.
More feedback, please.! Also your rankings in each section?
B.
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Author: EEBaum
Date: 2007-08-24 07:12
As for applauding, I applaud after an ensemble plays a piece of music. I applaud after the national anthem. I would also applaud after Amazing Grace.
-Alex
www.mostlydifferent.com
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The Clarinet Pages
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