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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 of conductors at the podium and have some specific beefs and gripes with a few, but overall I empathize with the challenges of leading an ensemble of musicians.
Besides performing with the groups like Arizona Opera and Phoenix Symphony, I also am a long-term substitute music teacher in the Phoenix metropolitan area. A “merry band” (or orchestra) of junior high or high school students can be very judgmental crowd, and over the last five years I have learned a lot of things while at the podium.
Of course, there are huge differences between a school ensemble and a professional group. Yet, the lessons I have learned as a public school conductor (in addition to being an experienced player) have given me insights into the art of leadership. These lessons I believe transcend the differences between a professional and student group. They are applicable to any level.
I have already blogged a newbie musician list, and a discussion at Polyphonic.org has inspired me to also create a top-ten list for conductors. Rather than making this a list of rants against the megalomania and narcissism I sometimes witness both in schools and in the field, I am hoping to offer helpful advice for conductors – and players – to think about and ponder on.
THE LIST
These are in no specific order:
- Avoiding saying “just one more time” from this spot, or “from this spot, just a little bit.”
Inevitably most conductors that say this end up going from “that spot” several times and for much longer than “a little bit.” - Be sure that your preparatory upbeat is in time with the music to follow.
In this vein, using a verbal count-off (“one, two, ready, go…”) to start a group playing encourages musicians to not watch the stick and bury their heads in their music. Avoid count-offs for this reason. - Verbally repeat starting points for rehearsal purposes more than once.
Some musicians in the back may not hear you correctly the first or even second time. Be sure to look up from your score and see if the musicians understand and are ready to go before starting. - Resist the urge to “name drop.”
Naming famous friends or colleagues (or other gigs) can telegraph an air of pretension. This is especially true if the group has no personal connection to the name being dropped. - No matter how terrible or ineffective a predecessor, a guest conductor or a musician is or was, do not bad-mouth colleagues while on the podium. While it might feel good to vent, negative personal comments can backfire and haunt you later.
- When a musician hits a sour note, presume that it was a mistake and not intentional.
Professional musicians are generally a smart bunch and are well aware when they make a mistake. Student musicians, while perhaps less aware, need guidance not chastisements. Conductors with good leadership skills acknowledge bloopers with a glance or even a smile; conductors with weak skills will scowl or even make disparaging comments. A smile acknowledges the error but says “I trust that you will get this next time” whereas a scowl or a negative comment will only make a musician anxious, less focused and likely to make more mistakes not less. - Resist the temptation to stop at every little concern and make comments.
Sometimes it is better to trust the musicians and let them play it out. Put a post-it note in the score as a marker and address it later.Along this line of thought, be very clear as to what is a small spot to rehearse and what is a lengthy passage to run without stopping. When you do stop, make it clear why you stopped. Making an ensemble of musicians repeat a passage without a clear (or any) explanation will elicit audible groans from a young group and silent anguish from a professional group. - Be a colleague to the musicians.
While the conductor is technically the boss, approaching rehearsals as a collaborative process yields stronger artistic results; mutual respect will inspire musicians to play better for you – no matter what the level of their (or your) ability is. Also, for musicians this approach is much more rewarding than just following commands. - “Beat one” in any metered, conducting pattern is always a straight, vertical, downward motion.
- In general, try not to talk too much – talking should be done with your hands.
When you do make comments speak clearly and keep it concise and to the point. Conductors that babble, repeat themselves or talk too fast get ignored. Avoid talking and making comments while the music is playing; not only will the musicians in the back not hear you, but the musicians intently focused on the music will be confused by the distraction.Respect not only the “zone” of concentration required to play an instrument but also respect the music itself. Talking over a group while it plays interferes with the greater flow.
See also Robert Levine’s “Notes to Young Conductors.”
