Preparing for a symphony concert
- AndrewMeronek
- Posts: 1487
- Joined: Mar 30, 2018
What are some good approaches to preparing as best as possible for a concert - and the first rehearsal in a symphony so as to truly be ready for all the quirks that a conductor throws at you? I'm thinking not just the obvious - be able to play your part - but how to pick up things that aren't always obvious your part like rubato, dynamic balance, where to listen across the orchestra to match phrasing, etc?
- BGuttman
- Posts: 7368
- Joined: Mar 22, 2018
Ifyou have played for the conductor before you will know his quirks. If you haven't, be prepared to change what you are doing to meet any requests. I had one conductor tell me I was too loud even though I wasn't playing ;)
If it sounds like a concerto for trombone and orchestra, you are playing too loud.
If it sounds like a concerto for trombone and orchestra, you are playing too loud.
- Burgerbob
- Posts: 6327
- Joined: Apr 23, 2018
Know the part (and the work) well enough that surprises won't throw you.
- harrisonreed
- Posts: 6479
- Joined: Aug 17, 2018
Properly marking up your part ahead of time, including cues that aren't written in, can really help.
- Bach5G
- Posts: 2874
- Joined: Apr 07, 2018
Listening to a recording (You Tube) of the piece with your part (or the score) in your hand (maybe even playing along) and following along helps. Comparing a couple of versions is useful.
- JohnL
- Posts: 2529
- Joined: Mar 23, 2018
The conductor probably has his/her favorite recording; if possible, that's the one to listen to.
[quote="harrisonreed"]Properly marking up your part ahead of time, including cues that aren't written in, can really help.[/quote]
Measure numbers for every entrance you have. Useful when the conductor calls out a bar number that's between rehearsal numbers and you need to enter a few measures later.
[quote="harrisonreed"]Properly marking up your part ahead of time, including cues that aren't written in, can really help.[/quote]
Measure numbers for every entrance you have. Useful when the conductor calls out a bar number that's between rehearsal numbers and you need to enter a few measures later.
- norbie2018
- Posts: 1051
- Joined: Apr 05, 2018
All the above tips are helpful. In the end, playing in as many ensembles as possible and discovering what works for you will be the most effective teacher.
- AndrewMeronek
- Posts: 1487
- Joined: Mar 30, 2018
Yes, cool, I do all of the above.
One thing I'll add is to memorize transition sections. With this idea that I *don't* know the conductor, it really helps to be able to get my eyes off the page when the conductor really needs to feed information. I'm not one of those people who can reliably watch two things at once.
One thing I'll add is to memorize transition sections. With this idea that I *don't* know the conductor, it really helps to be able to get my eyes off the page when the conductor really needs to feed information. I'm not one of those people who can reliably watch two things at once.
- Matt_K
- Posts: 4809
- Joined: Mar 21, 2018
One thing that is great about orchestral music is that, very often, the scores are available publicly for free. That provides a tremendous resource to be able to actually see what you are hearing when you listen to something. One listen with the score in hand is often enough to make sure you know everything to listen for for me. After you do that for awhile, things start to become more natural. Orchestral music is often fairly predictable both harmonically and melodically, so you can pick up on the patterns. And then when it isn't it's also easy because it's such a jarring departure from the predictability!
- PhilTrombone
- Posts: 161
- Joined: Nov 06, 2018
One thing I'll add is to memorize transition sections.
Well said.
Know the road map (Repeats, Da Capo, etc; Where is the DS?)
Know where the temp changes are.
Know where the key changes are.
Know the standout parts where trombones are featured or especially important.
All this enables you to keep your eyes on the conductor and respond to her/him. Make sure the conductor sees that you are watching; they will rave about what a great player you are! :idea:
- VJOFan
- Posts: 529
- Joined: Apr 06, 2018
Not so much preparation as a mindset-
The level of mental focus required in an orchestra, for me, has always been the highest level I need. Any other setting there is a rhythm section, I have much more active parts or I have more control over how the rehearsal or performance will go.
Be prepared to be very on for the whole rehearsal.
The best tips above, in my opinion, are the ones that lean toward almost having the entire piece memorized (all the parts of the whole piece) so you always know where you are to spite anything that may be going on in front of you on the podium or around you.
The level of mental focus required in an orchestra, for me, has always been the highest level I need. Any other setting there is a rhythm section, I have much more active parts or I have more control over how the rehearsal or performance will go.
Be prepared to be very on for the whole rehearsal.
The best tips above, in my opinion, are the ones that lean toward almost having the entire piece memorized (all the parts of the whole piece) so you always know where you are to spite anything that may be going on in front of you on the podium or around you.