bloke wrote:- Before concerts, limit (or preferably, eliminate) your "motivic practicing" (playing through passages of the piece about to be performed).
I generally agree with this, especially as the ability level of the player and ensemble decreases.
However, I have certainly seen this done at the upper end of the spectrum. I'm talking like the top of the top-tier, "my tuba is named after me" kind of stuff here. Now, I would never be the person to say that he's wrong in doing this... but I think it's extremely different if he does it than if I were to do it.
bloke wrote: This was composed by a friend - not by me. It's just a copy/paste.
- Tuning should be done quickly and efficiently. You should have already checked your tuning with a tuner in advance, so any needed adjustments after the A will be minor. Refrain from unnecessary noodling during the A.
- Be mindful that the audience can see you, even if you are in the back of the orchestra. They will definitely notice if you yawn, look bored, or share a conspiratorial look with a colleague. It is more enjoyable for the audience when we look engaged with our performance.
I follow Bloke's statements on Tuba Tooning: I always blow the A when directed to do so and rarely am out of tune. If directed to change my tuning, I kind of put my hand down there so it looks like I'm doing something and, invariably, second time I blow the A, it's in tune. No slide changing. Just ear, brain and lips. When I played trumpet all the time, the director would tune the section then each one of us. The director would usually have me push it in a little and, after second blow, pull it out a little. Then, it was "fine" and in exactly the same place as when I started.
I have to be mindful of my appearance when counting 32 bars of rest in three or four different places in the piece. It's easy to let the mind wander and not be alert. I fight boredom by active listening to what the others are doing, first, to enjoy it and, second, once I learn the whole pice, I'll be less likely to get lost in the rests.
Although I don't see it so much anymore, there was a fad with trumpet players to warm up with a bad tone and bad self-intonation. This sounds really bad to the audience and does not impress your colleagues.
no full volume? better to find the limits sooner than later, in case you are in an acoustic hotspot or whatever. For so much of tuba playing you are "pegging" the volume to just below the point where the tone is bombastic...funny how 80% of casual players naturally agree at this point, and 80% washed-up former music majors routinely exceed it.
I dislike brass players, particularly horn, who wait until there is a profoundly quiet, emotional and reverent section of the music to decide to blow through their water keys, spin their horn, and pull and empty their slides.
I like the way the Marine Band does a concert. Once the doors are open to the public, the band gets off stage and does not come out until time to play. No pre-downbeat doodling of any kind in front of the audience occurs.
At the other extreme, I have had community (and other) band directors who will rehearse music in full view of the audience up until 5 minutes before the concert starts. I have always felt like if we can't figure out the tunes in 2 months of rehearsal, we aren't going to figure them out with 5 minutes to go.
This guide was assembled from various sources and added to (by me). Similar to Bloke's post but has a few extra things.
BAND/ ORCHESTRA ETIQUETTE
1. Arrival/ warmup
Be in your seat ready to go before rehearsal begins. Because you cannot anticipate everything that you may encounter before the rehearsal begins, this generally means that you should arrive at least 15 to 20 minutes early.
Warmups should be done mezzo piano, or softer. if you need to play louder than mp, go to a different room. Do not show off.
When warming up prior to a concert, when the audience is filing in, it's OK to run through passages that will be played in the concert, but once only. (Note: some organizations do not permit this practice at all; see Section 4) Do not repeat any passage even if you flub it (in which case you shouldn't have been doing those run-throughs to begin with).
Your instrument is your tool of the trade; it should be in good playing condition at the beginning of every rehearsal.
Be prepared with oil, grease, spare reeds, or whatever minor repair items that you could need for an unexpected event.
Always have sharpened pencils with good erasers at the ready. Bring your own even if you expect them to be supplied. Do not markup parts with ink!
2. During rehearsal
Talking should be minimal and limited to discussions of music at hand. Save social conversations for before or after rehearsal, or during breaks.
No cell phone conversations. Cell phone in silent mode. Do not check cell phones for messages when the band is playing, even if you are not playing. It's OK to use a tuning app on a cell phone.
Do not bring any food into the rehearsal area, even during a break. If you must eat (sometimes a difficult schedule demands this) go to a different area during the break.
When the conductor stops, you should stop, immediately. You do not need to finish the phrase.
Do not practice difficult passages or noodle when the bands stops playing. This is extremely irritating to other players and rude to the conductor. Practice at home.
When a conductor makes a request, it is courteous to acknowledge with a nod or affirmative "yes" or "got it" or simply making eye contact.
Some players conduct or count out loud as an aid to keeping track of rests. Do not do this, ever. It is OK to give a small hand signals at rehearsal marks or double bars to keep the section together.
Respect soloists. Don't adjust your instrument or drink water when a soloist is playing. Don't stare. Sit quietly.
It's OK to clarify issues with the conductor, but don't argue. If you have a disagreement with the conductor, resolve it after the rehearsal. During rehearsal, always show respect for the position of conductor (even if you don't respect the person conducting).
Do not handle anyone else's instrument without permission, unless it is absolutely unavoidable. When walking through the rehearsal area, be aware of the expensive instruments in your vicinity. On the flip side of this coin, when you leave your instrument, place it in a stable position, and don't leave it at a location that is likely to have high traffic.
(Prior to rehearsal) If you have difficult or noisy page turns, prep your sheet music by photocopying and taping as necessary to solve the problem.
3. During performance
Proper attire and posture at all times. Do not cross legs.
Do not react or make facial expressions due to mistakes, whether those mistakes are your own or made by others.
Stand smartly when the conductor takes the stage. The best impression will be made if the musicians rise together, so be ready to stand before the conductor enters.
If you need to sneeze or cough, stifle it, or if unavoidable, turn away from the audience and do your best to conceal it. Absolutely never let anyone in the audience see you yawn.
4. Additional tips for working with different groups
If you are working your way up the hierarchy of band or orchestras you will find that the better they are, the more particular they become regarding protocol and presentation. These rules do not necessarily apply to all organizations.
Never stand on the conductor's podium. Always walk around, never across, the podium.
Never adjust sheet music or prepare for the next piece during applause. Sit quietly and wait until the audience recognition subsides. During applause, turn to face the audience. Smiles or slide nods are permissible as reactions to the audience's appreciation.
The previous rule in the Section 1 about playing passages before a concert may not apply; some groups frown on this, although it is also commonly done by musicians in other very fine organizations.
Some groups do not permit foot tapping. This is generally a conductor preference. It's a good idea to learn to play without tapping your foot before you are asked to do so, because it usually is an unconscious activity that can be difficult to stop.
Among professionals there are long standing procedures regarding gig dates, absences, subs, doubling, cartage and payment that are too numerous to discuss here. However, if you are an amateur who has occasional work that involves payment you are entering the territory of professional musicians, and it's a good idea to check the obligations of execution and payment.
Whether you are being paid or not, always act in a professional manner.
Consider it preparation for your next position.
Note checking or disagreements with the conductor should be taken up privately, not during valuable rehearsal time.
Instead of talking to your plants, if you yelled at them would they still grow, but only to be troubled and insecure?
bloke wrote:"funny how picky choirmasters become - regarding their choirs' performance issues - when there are four dozen paid musicians sitting around them."
