Archived under: Lists & FAQs, Playing in orchestra
Three Things Conductors Want
Yesterday I visited a rehearsal by the ASU symphony orchestra and the conductor confirmed something I have said a number of times before. Conductors love players who can play with character. He mentioned an example of the great woodwind players of the past having very distinctive styles and character to their playing.
As I have said before in this site, in an audition especially make a bit of a statement, don’t be boring or bland. Don’t be over the top either, too much character is a bad thing (never be a blaster!) but even if a conductor does not like your interpretation exactly at least you have one that they can mold the way they want it. Once I saw in a review someone described as performing in a “workmanlike” manner. This you never want said of you, aim for a higher level.
Another thing on my mind lately is that you have to lead when you play. Every player in a section needs to lead and be on the same page. A section of followers is not good; they will drag constantly and never be on top of the beat.
Speaking of being on top of the beat, unless a conductor has some sort of delayed beat concept (like Ormandy did in Philadelphia in the old days) conductors want you to watch them like crazy and be on top of the beat. Related to this is the importance of building of trust between you and the conductor, a trust that you will lay down the notes for them. I could go into many lengthy stories about this, but if confidence is lost between the conductor and you it is not good, it may take a while for you to earn it back.
To review, conductors want horn players who play on their beat that they can trust to watch them and who will not only lay down the notes but also do something more than play the notes. Be one of those players.
Related to this article
- Pet Peeve: Conductors that Talk too Much
I have started following several arts related blogs lately. Today the post at Arts Addict hits exactly on a pet peeve I have: conductors that talk too much during concerts. His post is titled “The Babbling Conductor.” My theory is people come to concerts to hear... - Top Ten List: Advice for Conductors
A top-ten list for conductors from a musician’s view. INTRODUCTION Having been a professional musician for around 25 years now, I have seen my share of conductors – the good, the bad and the ugly. I have performed with groups around the world with a variety... - Two Things from a Trumpet Class
I often say that you can pick up a lot from other brass players. Soloist and Arizona State University Regents Professor of trumpet David Hickman gave on Wednesday a version of his presentation/demonstration for the ITG conference this summer for our Brass Area. In it there... - Conductors are Your Audience
This time of year the topic of seating auditions is a big one for college students. I do my best to help all students prepare for these auditions at ASU, and have over the years I believe done better with this each year. Of course you... - Playing a Double Wagner Tuba this Week
I am playing extra horn this week with The Phoenix Symphony, seventh horn and Wagner tuba on The Rite of Spring. It has made this week especially busy but I enjoy briefly playing in orchestra again on these large works. The one notable experience of the... - Woodwind and Brass Quintets; All Things Not Equal
A ramble on the woodwind quintet genre. In the realm of chamber music, French horn players are in a very unique position. They are an integral part of two established genres: the woodwind quintet and brass quintet. Both groups can be incredibly rewarding for a hornist...
Hornmasters: Kaslow on Support and Compression
Transposition Tricks: Bass Clef
Using Too Much Pressure?
Food for Thought, A Recipe For Success
Transforming wood into brass; the alchemy of Rob Jones
