Quintet Playing - dealing with personalities

[Rev Rob]

I have just started playing with a brass quintet and I would like to hear from you all regarding just how personality/playing issues are handled. Such as but not limited to: music selection; player substitutions; where and when you practice; what gigs you play or do not play; the frustrations and joys of playing in in quintet. Inquiring minds would like to know -

[opus37]

It depends on the group and why it is formed. First, the quintet is formed to perform for a particular reason such as playing for Easter or Christmas or some other event. If you stick together, there is usually one person who becomes the leader. They select to music, lead the rehearsals and gets the gigs. Conflicts occur with music selection, schedule (everyone is busy), and personalities. A group, if it lasts more than two gigs, usually lasts for years. Having a new person coming in is usually very difficult because they have no history and do not understand the dynamics. Everyone has to love playing this type of music.

[Z-Tuba Dude]

Many years ago, I came to the conclusion that playing in a quintet is like being married to 4 other people!
Decision making concerns topics that people often feel STRONGLY about, and if there is a disagreement, it can be challenging to resolve it to everyone's satisfaction.

I do remember hearing someplace that one prominent quintet would drop a piece of music from it's repertoire, if it was not unanimously approved.

[TheGoyWonder]

You HAVE to have one guy who will stick with you through everything. With that you can continue even in marginal existence with a revolving door on the other seats. Get up to triumvirate and it probably gets a lot easier.

[FarahShazam]

Subbing to this thread. I got nuffin.

[Three Valves]

I came into this world with nuffin' and through hard work and guile, I still have most of it left!!

[Rick Denney]

Professional quintets require commitment and discipline, which means it has the same priority for the players as showing up for work to a committed professional in any field. If pros approach it as something they do if they don't have anything more interesting to do, then they turn themselves into hobbyists at least within that group.

A hobbyist group needs to know what gigs it should NOT play. A quintet needs to stay within itself. This becomes a problem when the skills of the members are uneven--the better players may be more ambitious (either to get work, or to attain a higher standard) and less forgiving. A hobbyist group benefits from striving for even abilities when recruiting members. It's impossible to be perfect here, and few hobbyists have a correct perception of their own playing.

If there is a leader (even if the leader changes from one gig to the next), the leader must lead. That means providing what the group needs to succeed.

Laziness has no place in chamber music, no matter what the skill level or degree of commitment.

There's more, but that's what comes to me at the moment.

Rick "etc." Denney

[Rev Rob]

Thanks for you replies. The quintet I am a part of would be considered a "hobbyist" quintet. No one is giving us money, yet. The horn, trombone and first trumpet are top notch players. The tuba player (me) and the 2nd trumpet are more marginal players. Not saying that with a lot of work and practice we will be top notch players. But with a lot of work and practice coupled with prudent selection of music we should all be able to effectively contribute and produce a good sound.

The personality issues are much more complex and difficult to come to grips with than the musical issues. I just hope we have enough patience and respect for each other to hang in there and continue to play. Play as long as it is enjoyable and personally rewarding for us.

[Donn]

I feel fairly sure that among normal people that isn't one of the likely personality issues. I would expect more music related stuff, like often can't reliably show up at rehearsals, can't keep time or play in tune, for example. Then there's talks too much, wears too much perfume, makes googly eyes at your wife, that kind of thing.

[pecktime]

Here's my experiences of playing in small groups for 20 years:

1)- In a group I need at least 2 of the following: 1) cool people, 2) good music, 3) good money.

2)- If you do the dirty work ie hustle some gigs, you get to choose the repertoire/ tell people how to play.

3)- If i'm not leading the group (ie someone else is doing the work), i'm as easy going and amenable as I can be.

[tbn.al]

I put together a quintet consisting of friends who I knew well, both their playing and personalities 15 years ago. We have had only a couple of changes in all that time. Our 2nd trumpet player had to drop out due to parental responsibilities and was replaced with an outstanding person, musician, immediately. I started doubling on tuba and eventually the bass trombone just stayed at home because it works better that way. We play a dozen gigs a year, some that actually pay. No one is the boss. In addition to playing our parts we just all kind of fill in where our talents lie. The first trumpet is the moderator/announcer when we need one. The second trumpet player is the comedian who keeps things light even when they are not. The French horn, trombone and I get us church gigs. The trombone player, and his wife, gets all kind of gigs and does our scheduling. I supply supply most of the music. We all have a ball. If we don't have a gig coming up lots of times we will just get together and read stuff we haven't seen in a while or ever. It is the most fun I have as a musician. I sure hope you can get into a situation like this.