If you are new in the orchestra or ensemble, you should know the following:
If we get a new player without routine & not much knowledge about the repertoire, we care much about his preparation as we do not have many rehearsals, just about one or two for pieces actually in the repertoire, if they have not been in the program for a longer period. The new player can receive a copy of his part. We, as the solo players, meet with him or her & talk the piece through, pointing at the hot spots & occasionally demonstrating, how a certain passages should be played. Sometimes we listen to the new player, while he or she practices the piece in question. We "instruct" them, how a certain passage MUST be played to work at our level. We do not hold back special hints, which is in our own interest, as the section must work perfect - occasional "accidents" (if really just happen occasionally and rare !) not counted - . This advice is e.g. playing a certain note with a certain fingering to be in tune as a section. We know what we talk about and there is the authority & responsibility of the leader !! If the new person in the section does not follow this advice & comes with an audible negative or not matching result, we tell again, but for the last time. Given just two chances. The other voting members of the orchestra will vote negative, when it comes to voting about passing the trial period. Sounds very harsh, right. It is harsh, anyway, but must be that way. In the orchestra, there is not much space for individuality except if you have a definitive solo, but also then, one must observe the rhythm & the flow of the music. The great exception is it, if you have a cadence. But, how often does this happen for a section player, if it is extremely rare for the solo players ? Remember, playing in the orchestra has nothing in common with playing a recital in the music school, except, that intonation must be better & rhythm also, when in the orchestra. Any ensemble playing, the orchestra included, requires full integration into an existing organism. We call this also: blend with the others. The exception is here the principal player, as he or she might set a bit of "cream" or "special dressing" on top, if his or her voice is leading the whole thing, but still "blending" with the style ofd the piece & the orchestra. Hello young orchestra members, LISTEN, LISTEN & LISTEN again to the other voices in the orchestra & on stage. Listen & enjoy listening, enjoy supporting the others, enjoy being a part of the whole action. Do not take your part as SOOOOOO important, but take it very serious. Not every fart looking as an important spot is a horn solo. But care also, that these farts do not come at places, where they should not happen. In that case you would be the soloist then, but not for long, believe me. Do not write all & everything into your part, as others might be disturbed by your calligraphy. Store the information in your brain & reduce the inscriptions to your part to an absolute minimum. Good luck, anyway. Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
