Orchestral Research PART 2B: orchestral surveys for violin sections in orchestras

November 6, 2012 at 11:47 PM

Time for another orchestral research entry!

This part of my research entails violin sections in orchestras completing the survey below. It is my goal to obtain surveys from six orchestras ranging in level. So far, two orchestras have completed these surveys, and two are on their way to completion. As with the interviews, I will add more results as I receive them.

The survey lists a series of statements in which the person taking the survey may answer in multiple choice fashion from one of the following answers:
a) strongly agree
b) agree
c) no opinion/neutral
d) disagree
e) strongly disagree

The survey covers three topics: Audition Preparation, the Actual Audition, and Matters concerning Concertmasters. After the surveys were complete, I tallied up the results as to how many picked which answer. Not all orchestras had the same amount of surveys completed, as I could not require a certain number of volunteers should not all want to participate.

The statements are shown below:

9 questions in regards to audition preparation:

1) When looking for auditions a violinist should audition for any job opening,
even if their level of playing is slightly below the orchestra’s level.

2) When preparing for an audition, it is acceptable to ask a violinist for
coaching from within that orchestra you are auditioning for.

3) A violinist should only chose to play a concerto within the standard
romantic/contemporary range.

4) Most orchestras do not provide their own edited excerpts for the audition.

5) Violinists should listen to recordings (if there are any) of the orchestra they
are auditioning for, so that they know how the orchestra sounds and can
try to emulate them accordingly.

6) When no measure numbers are given for the excerpts in an audition, a
violinist should learn the entire piece/movement for an audition.

7) In an audition a violinist should use bowings that are comfortable for
him/her, regardless of any standard bowings that might exist.

8) Mental preparation is as equally important for taking an audition as
physical preparation

9) Before choosing to audition for an orchestral job, it is important to first
take into consideration how much the audition costs, location, and other
aspects not having anything directly to do with the orchestra.

10 questions in regards to the actual auditions:

1) When listening to violinists audition, committee members want to hear
soloistic dynamics over orchestral dynamics, so the musicality of the
violinist is fully represented.

2) Even though most of the audition process takes place behind a screen,
what a person wears is crucial.
3) Screens are used for all rounds of auditions.

4) The sight-reading part in an audition is not as crucial as the actual
excerpts.

5) During the audition it is common to be asked to play an excerpt at
different tempi.

6) When a violinist is auditioning for a section chair, the audition committee is
comprised of only string members of the orchestra and the conductor.

7) When a violinist is auditioning for a concertmaster, principal, associate
principal, or assistant principle chair, the audition committee is comprised
of all principals within the orchestra and conductor.

8) Recordings that are sent in for auditions are not taken into serious
consideration.

9) The list of excerpts changes depending whether the audition is for a
concertmaster, principal, or section chair.

10) After winning an audition, a violinist can expect to own a seat until
he/she decides to audition for another open seat and move accordingly.

10 questions regarding concertmaster matters:

1) During rehearsal, it is appropriate to address your section often with an
issue in the music (bowings, what part of the bow to play in, etc.)

2) When in rehearsal, the concertmaster should wait until the break
before making any inquiries to the conductor about the music.

3) Concertmasters determine all the bowings that are unified among the
strings and the first violin bowings, and then principals complete the rest of
the individual section bowings.

4) The concertmaster should have all bowings ready before the first rehearsal.

5) The concertmaster should take into consideration the other string
principals’ thoughts and ideas on bowings, phrasings, etc.

6) It is appropriate to change bowings before the dress rehearsal, but not at
the dress rehearsal.
7) When new on the job as concertmaster, is it not appropriate to immediately
begin vocalizing thoughts and opinions. Instead, one should wait awhile to
get the “feel” of the orchestra and patiently observe the group.

8) When a concertmaster leads the orchestra, it is important he/she moves so
that the violinists in the back can see the gestures.

9) Concertmasters have a large part in choosing violin audition winners.

10) The concertmaster is an ambassador to the community, and expected to
play for various events within and outside of the community.
------------------------------------------------------------
Here are the results:
Yakima Symphony (13 surveys):

Audition Preparation:

1) a) 0 b) 1 c) 1 d) 11 e) 0

2) a) 1 b) 1 c) 0 d) 8 e) 3

3) a) 2 b) 4 c) 2 d) 4 e) 1

4) a) 0 b) 5 c) 1 d) 5 e) 1

5) a) 0 b) 0 c) 4 d) 3 e) 6

6) a) 0 b) 0 c) 1 d) 7 e) 4

7) a) 1 b) 5 c) 2 d) 5 e) 0

8) a) 1 b) 0 c) 0 d) 4 e) 8

9) a) 1 b) 1 c) 0 d) 7 e) 4

Actual Audition:

1) a) 3 b) 5 c) 3 d) 2 e) 0

2) a) 0 b) 3 c) 3 d) 5 e) 2

3) a) 6 b) 6 c) 1 d) 0 e) 0

4) a) 2 b) 6 c) 1 d) 3 e) 1

5) a) 0 b) 2 c) 2 d) 7 e) 2

6) a) 3 b) 7 c) 2 d) 1 e) 0

7) a) 0 b) 3 c) 1 d) 7 e) 1

8) a) 2 b) 5 c) 1 d) 4 e) 1

9) a) 0 b) 1 c) d) 7 e) 5

10) a) 4 b) 4 c) 1 d) 4 e) 0

Concertmaster Questions: (one person did not answer this section…)

1) a) 2 b) 2 c) 1 d) 5 e) 2

2) a) 3 b) 7 c) 1 d) 0 e) 1

3) a) 0 b) 0 c) 0 d) 10 e) 2

4) a) 1 b) 0 c) 0 d) 4 e) 7

5) a) 0 b) 3 c) 1 d) 6 e) 2

6) a) 0 b) 1 c) 0 d) 8 e) 3

7) a) 1 b) 2 c) 0 d) 9 e) 0

8) a) 0 b) 0 c) 1 d) 8 e) 3

9) a) 0 b) 1 c) 0 d) 10 e) 1

10) a) 0 b) 0 c) 5 d) 3 e) 4
------------------------------------------------------------
Spokane Symphony (14 surveys):

Audition Preparation:

1) a) 0 b) 4 c) 2 d) 7 e) 1

2) a) 0 b) 1 c) 0 d) 6 e) 7

3) a) 1 b) 1 c) 1 d) 6 e) 5

4) a) 1 b) 3 c) 6 d) 4 e) 0

5) a) 2 b) 0 c) 2 d) 8 e) 2

6) a) 0 b) 0 c) 1 d) 4 e) 9

7) a) 2 b) 3 c) 1 d) 6 e) 2

8) a) 0 b) 0 c) 0 d) 4 e) 10

9) a) 0 b) 2 c) 2 d) 4 e) 6

Actual Audition:

1) a) 3 b) 1 c) 3 d) 4 e) 3

2) a) 1 b) 4 c) 5 d) 4 e) 0

3) a) 4 b) 7 c) 1 d) 2 e) 0

4) a) 3 b) 5 c) 0 d) 5 e) 1

5) a) 0 b) 1 c) 3 d) 6 e) 4

6) a) 2 b) 2 c) 4 d) 5 e) 2

7) a) 3 b) 1 c) 5 d) 3 e) 2

8) a) 1 b) 4 c) 1 d) 7 e) 1

9) a) 0 b) 0 c) 0 d) 7 e) 7

10) a) 2 b) 4 c) 1 d) 6 e) 1

Concertmaster Questions: (one person did not answer this section…)

1) a) 2 b) 0 c) 2 d) 5 e) 4

2) a) 4 b) 6 c) 2 d) 0 e) 1

3) a) 2 b) 1 c) 2 d) 6 e) 1

4) a) 0 b) 0 c) 0 d) 0 e) 13

5) a) 0 b) 0 c) 0 d) 6 e) 7

6) a) 0 b) 2 c) 2 d) 5 e) 4

7) a) 0 b) 5 c) 4 d) 4 e) 0

8) a) 0 b) 0 c) 1 d) 2 e) 10

9) a) 3 b) 1 c) 3 d) 3 e) 3

10) a) 1 b) 1 c) 3 d) 5 e) 4
------------------------------------------------------------

Pacific Northwest Ballet Symphony answers: (8 surveys)

Audition Preparation:

1) a) 0 b) 4 c) 1 d) 3 e) 0

2) a) 1 b) 0 c) 1 d) 5 e) 1

3) a) 1 b) 3 c) 2 d) 2 e) 0

4) a) 0 b) 4 c) 2 d) 2 e) 0

5) a) 0 b) 1 c) 2 d) 3 e) 2

6) a) 0 b) 0 c) 0 d) 2 e) 6

7) a) 0 b) 3 c) 1 d) 3 e) 1

8) a) 0 b) 0 c) 0 d) 2 e) 6

9) a) 0 b) 1 c) 2 d) 3 e) 2

Actual Audition:

1) a) 2 b) 2 c) 2 d) 2 e) 0

2) a) 1 b) 3 c) 2 d) 1 e) 1

3) a) 1 b) 6 c) 1 d) 0 e) 0

4) a) 1 b) 4 c) 1 d) 2 e) 0

5) a) 0 b) 2 c) 2 d) 3 e) 1

6) a) 4 b) 2 c) 1 d) 1 e) 0

7) a) 1 b) 2 c) 3 d) 2 e) 0

8) a) 0 b) 6 c) 2 d) 0 e) 0

9) a) 1 b) 0 c) 1 d) 3 e) 3

10) a) 2 b) 2 c) 3 d) 1 e) 0

Concertmaster Questions:

1) a) 0 b) 1 c) 0 d) 5 e) 2

2) a) 2 b) 5 c) 1 d) 0 e) 0

3) a) 0 b) 1 c) 3 d) 2 e) 2

4) a) 0 b) 0 c) 0 d) 4 e) 4

5) a) 0 b) 0 c) 2 d) 4 e) 2

6) a) 0 b) 1 c) 2 d) 3 e) 2

7) a) 0 b) 1 c) 5 d) 2 e) 0

8) a) 0 b) 0 c) 1 d) 5 e) 2

9) a) 0 b) 1 c) 2 d) 4 e) 1

10) a) 0 b) 2 c) 4 d) 2 e) 0
------------------------------------------------------------
Oregon Symphony results:

1) a) 1 b) 2 c) 4 d) 3 e) 3

2) a) 0 b) 1 c) 0 d) 8 e) 4

3) a) 0 b) 2 c) 4 d) 7 e) 1

4) a) 0 b) 4 c) 2 d) 6 e) 2

5) a) 0 b) 3 c) 4 d) 5 e) 2

6) a) 0 b) 0 c) 1 d) 7 e) 6

7) a) 0 b) 6 c) 2 d) 5 e) 1

8) a) 0 b) 0 c) 0 d) 3 e) 11

9) a) 0 b) 0 c) 3 d) 8 e) 3

10) a) 3 b) 4 c) 2 d) 5 e) 0

Actual Audition:

1) a) 0 b) 1 c) 5 d) 6 e) 0

2) a) 0 b) 5 c) 2 d) 5 e) 2

3) a) 5 b) 8 c) 0 d) 0 e) 1

4) a) 2 b) 6 c) 0 d) 5 e) 0

5) a) 1 b) 0 c) 2 d) 8 e) 3

6) a) 7 b) 6 c) 1 d) 0 e) 0

7) a) 4 b) 5 c) 1 d) 3 e) 0

8) a) 5 b) 6 c) 1 d) 1 e) 0

9) a) 0 b) 0 c) 0 d) 7 e) 6

10) a) 3 b) 7 c) 1 d) 1 e) 0

Concertmaster Questions:

1) a) 1 b) 2 c) 0 d) 8 e) 1

2) a) 3 b) 9 c) 2 d) 0 e) 0

3) a) 0 b) 3 c) 0 d) 9 e) 2

4) a) 0 b) 0 c) 0 d) 7 e) 7

5) a) 0 b) 0 c) 1 d) 13 e) 0

6) a) 0 b) 2 c) 1 d) 8 e) 3

7) a) 0 b) 5 c) 4 d) 4 e) 1

8) a) 0 b) 0 c) 0 d) 10 e) 4

9) a) 0 b) 2 c) 4 d) 7 e) 1

10) a) 0 b) 0 c) 3 d) 8 e) 3
------------------------------------------------------------

From Laurie Niles
Posted on November 7, 2012 at 6:32 PM

Hi Rebecca,

Thanks for sharing your results. I think you need to crunch these numbers and analyze them a bit!

From Rebecca Darnall
Posted on November 12, 2012 at 7:25 PM

Thanks, Laurie! More survey results to come in the (hopefully) near future. I need to crunch some numbers too! I think the varied answers were interesting. It makes one realize what a fluid, subjective, and organic organization an orchestra is! I will be interested to see if some of the first/second tiered orchestras have more unified answers. :)

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Orchestral Research PART 2B: orchestral surveys for violin sections in orchestras

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