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– too many faux pas can ruin you.
My Top-Ten List of “Rookie” Mistakes:
- Loud practicing.
- Audition excerpts and concertos.
- Practicing a colleague’s solo.
- Showing up late.
- Participating in gossip.
- Superfluous noise.
- Reading a magazine or book.
- Crossing your legs.
- Being unprepared.
- Fighting the group karma.
In all of Philip Farkas’ writings my favorite chapters are in his treatise titled, The art of musicianship: A treatise on the skills, knowledge, and sensitivity needed by the mature musician to perform in an artistic and professional manner.
Chapters 9 and 10 should be required reading for any young professional starting out in the field; “Ensemble Playing” and “Psychology of Good Relationship with Colleagues and Conductor,” offer excellent advice that every professional can benefit from.
In retrospect, I wish that I had studied these chapters more carefully when I started out as a professional – I could saved myself from many embarrassing situations. I had read all three Farkas books, and understood that the primary goal as a musician was to blend in and to cooperate. Yet, I didn’t comprehend the full meaning of this simple precept until later. While trying my best to be a super-star horn player, I often overlooked the subtleties and nuances of that magical phrase, “to blend in and to cooperate,” and missed out on the greater pleasures of finer music-making.
Please learn from my mistakes and save yourself from embarrassment. People that you want to please – the “boss,” the section leader or veteran players – will be unhappy with at least one, if not all of the items on this list. This top-ten applies to all areas of professional playing, including: orchestral, chamber, commercial, and church jobs.
My top-ten list of “rookie” mistakes:
1.) Loud practicing.
A long time ago, while playing extra horn with a large metropolitan orchestra, I felt the urge to practice my loud fortissimo exercises to get ready for the rehearsal.
So off I went, gleefully playing high, fast and loud for an extended period. After several minutes – and several odd glances from other musicians – a member of the horn section came up to me and introduced herself. I politely returned her salutation and after a pause, resumed my practice session.
She quietly stopped me and said softly, “Bruce, if you want to have any friends in this orchestra, I strongly suggest that you not do that.” I instantly realized my mistake and was embarrassed. In general, loud practicing before or after a job is akin to screaming in someone’s face and most people find this kind of behavior offensive.
Although my young bravado was shot down that day, it was a valuable lesson I never forgot. Today, I warm-up at a reasonable volume level. Sometimes I warm-up with the mouthpiece alone, a straight mute or even a practice mute, depending on the situation. In general, I try to reserve all extreme practice techniques to the practice room.
2.) Audition excerpts and concertos.
For several seasons in an orchestra I perform with, we were regularly serenaded by a trumpet player
…who practiced her excerpts and concertos – at full volume – on the job. Over and over again she played them, from Petrushka to Pictures at an Exhibition to the Haydn Concerto, we heard them all.
Her attitude was “someday I will get a better job than all you of here,” and she sometimes even voiced that opinion. The string and woodwind players were the first to take offense, but by the end of her tenure she had alienated even most sympathetic brass players.
This is a big “no-no” – similar to loud practicing in its degree of annoyance to other musicians. Whether you are just trying to get ready for a recital or an audition, or just “showing off” a little bit, the workplace is not the place to play excerpts or solos. Just stick to your regular warm-up routine (nothing too extreme) and the music at hand. If you must practice your excerpts and concertos at work, quietly play them in a corner with a mute, or better yet – save them for a practice session at home.
3.) Practicing a colleague’s solo.
Most people learn this lesson in high school or college, but occasionally I hear young professionals making this mistake.
A player, intrigued by a solo line, decides to try their hand at a colleague’s solo, and practices it within earshot of that colleague.
A veteran player may view this as a direct threat – especially at a freelance job – and may think twice about recommending you to the contractor or personnel manager for future work. They may have a word or two to say to you about it as well. Another more patient player may be simply annoyed and not say anything to you about it at all, but will remember that incident, perhaps with disdain.
This aside, practicing a colleague’s solo on-the-job reflects poorly on you and your level of maturity as a cooperative musician. While on-the-job, mind your own business and practice only the music in your part. If you must try out that solo, do so only in private, far away from the job site.
4.) Showing up late.
It is not enough to show up on time to a job.
Showing up 5-10 minutes before a job starts makes people wonder if you will show up at all and may make them wonder about your work ethic. In my personal opinion showing up close to or on time is the same as being late.
As a “newbie” on any job you should be early – at least 15-20 minutes before the job begins. Make your presence known: to the contractor, personnel manager and/or principal player in your section.
A good piece of blunt advice I learned from my conservatory teacher was this: in any new situation, “keep your mouth shut and your ears open.”
Every established work group has a dynamic history. It pays to understand and appreciated this history before you get too comfortable voicing opinions. For example, it is an easy temptation to speak negatively of a conductor as this can be like a popular sport among some musicians. In some work environments, you may even hear musicians openly complaining or spreading rumors about other musicians!
I urge you to resist the temptation to join in – what may at first seem as an entertaining sport may ultimately come back to hurt you later. Besides, as Farkas points out in Chapter 10 of The Art of Musicianship, the conductor is the boss and it never serves you well to alienate the boss (or other musicians).
As a veteran player, I simply refuse to participate in such talk as I have found that very little good comes from it. Beyond any political repercussions, gossip undermines the fundamental joy and freedom in making music with other people.
It in effect, taints the music and very quickly can turn what should be a joyful experience into a negative experience.
6.) Superfluous noise.
Talking: Unless you are discussing specific musical concerns, it is a good idea to remain quiet and attentive during rehearsals. If a conductor speaks to you about a specific passage, keep your answers short. In most cases, a simple nod of the head or a polite hand gesture affirming the conductor’s request will do.
Foot-tapping: I am personally disturbed by audible foot-tapping. In most cases, foot tapping is imprecise and the “tap-tap” sound of the shoe hitting the floor (or even the resultant vibration that can be felt through the floor) can be distracting to others.
Emptying the slides: I have witnessed some very talented horn players make quite a racket when emptying water from their slides – even when the most delicate and quiet musical passages are being performed! This unnecessary noise can draw unwanted sighs and “eye-rolling” from colleagues.
Clanging slides and loud, excessive blowing through water keys detract from the music and draw unnecessary attention towards you. Empty your water slides quietly – with the utmost care and sensitivity towards others.
7.) Reading a magazine or book.
Even during the most prolonged rests and tacets, nothing says “I would rather be somewhere else” better
…than reading a book or magazine during a rehearsal. As a new player in an established ensemble this is not a good message to convey. If the opportunity allows, you are better off leaving the stage and reading backstage (or getting a cup of coffee) than reading onstage.
8.) Crossing your legs.
As in #7, your body language advertises your attitude and can reveal your inner emotions –
…both negative and positive. Even in the most casual commercial engagement, crossing your legs at the knees or at the ankles can be negatively interpreted by others. It can be viewed as an overly casual attitude and it may work against you.
Keep your feet flat on the floor. After all, this is better for your breathing posture.
9.) Being unprepared.
I am a good sight-reader and used to exploit this talent by not preparing my part for rehearsals.
In most cases, I was able to get by on my innate talent. This ended one day on my first encounter with Stravinsky’s work, The Rite of Spring.
I was hired as an extra to play the sixth horn part in a major metropolitan orchestra. As we read Rite of Spring I was doing fine until the final pages where I just could not get the feel of the multi-metered passages. After several unsuccessful rehearsals, I looked to the seventh hornist (who was the Associate Principal) for a sympathetic ear. He could not longer contain himself and replied with a sarcastic tone, “you’re on your own kid – sink or swim.”
As in Example #1 (Loud Practicing) I was sufficiently humiliated – at my lack of preparation, and that I had disappointed a professional musician that I held in high regard. That night I went home, learned the part, and vowed to always be prepared for rehearsals.
10.) Fighting the group karma.
On the job, the primary responsibilities of the musician are to follow the conductor, to blend into the ensemble and to “go with the flow.”
