How to communicate as the section leader?

September 4, 2013 at 05:28 AM · You should use your violin to bring the section in at the right times by lifting it slightly so everyone can see. And make sure you have your violin up early before you start to play. Also use your body language to communicate dynamics (I mean everyone should read them anyway from the text) and also try and show your section in what part of the bow your playing in to create the right kind of sound/dynamic.

Tash

September 4, 2013 at 05:54 PM · Grab a beer and talk music with the other section leaders. Or play through some spots as a quartet. You'll get to know their style/eccentricities/etc. Also make sure you know the people in your section and what they'll need from others to help (maybe you have a tricky rhythm with the violas, for example).

Also bring a score to rehearsal and mark the spots where you need help. And listen to recordings with the score!

First step, develop relationships with your colleagues. Then music making is easier.

September 4, 2013 at 07:04 PM · Lead sectional rehearsal of 2nd violins and help the concert master or the assistant in violin section rehearsals.

You will learn a lot about each and every member by facing them, observing and listening. Lead by example. It is important that you know your music very well; you bear more responsibility for accuracy in rhythm, pitch and responsiveness to conductor's moves.

Communicate with the conductor, other section leaders, especially with the concert master and the his assistant.

Make sure you know all members by name and be open for any questions and suggestions.

Lastly, remember that you are the first among the equals and that the results of your leadership will show as the accomplishment of your section and the orchestra as a whole.

September 26, 2013 at 05:40 PM · Principal 2nd?

1. Relax

2. Communicate with your section (esp. at school level) by turning around (INFREQUENTLY)when there is a break in the music, and *succinctly* summing up a problem that is not going away. Use "we" phrases rather than "you" accusations. For the problems mentioned above, "We are rushing the eighth notes" and "We are too loud at Letter B" would do.

3. Stay in touch visually and spiritually with your CM as much as humanly possible, coordinating your cues and bowings with his/hers.

4. As an orchestral musician myself, I evolved the habit of readying my instrument 2 bars in advance of entrances with a fair amount of consistency, unless it's a super slow tempo in which case usually one is sufficient.

(Or it's the fifth time the conductor has asked for that passage from the firsts, and you're tired of being a sucker, in which case all bets are off LOL)

5. Depending on the size of your orchestra/section, a lot of your back stands might not have a clear line of sight to your shoulder level, but most will see your bow...just food for thought.

Enjoy, remember the Golden Rule and you'll be fine.

September 26, 2013 at 07:54 PM · Useful advice in those posts, a little of which I managed to use in last Tuesday's symphony orchestra rehearsal when I was quite unexpectedly bumped up to the hot seat of the seconds due to a significant dearth of violins in the orchestra that evening.

I had some idea of what was involved, such as body language, because I was a principal cellist many years ago, but on this occasion we were doing Beethoven 2 which had just been handed out, and which I had never played as a violinist, so was sight-reading. Not only that, but we had a brand-new enthusiastic conductor whom we had elected from auditions the previous week, a charismatic young man who had done his homework, was very much on the ball, didn't miss a trick, and rehearsed close to concert speed.

For me it was a most useful mind-concentrating experience, like an intensive workshop. I expect to return to the anonymity of the third desk next week when the leader returns.

October 21, 2013 at 01:23 PM · It's so unfair that in universities you are rarely given the instruction needed to lead a section. Even at a conservatory I was never specifically instructed on what to do, nor as concertmaster either. You learn by watching others, by paying attention to your section leaders and finding out what works and what doesn't. For example, if I sit behind a leader who is static and makes no movements at all it's pretty boring and un-engaging. I'm sorry to tell you but motion is necessary, I can't hear the leader, I can only see them. So if you're breathing on an upbeat, your section needs to see that. There is a conductor who should give clear cues but there are so many spots during a piece that the section needs cues from a leader. As you breathe on the upbeat, swell your chest just enough to slightly raise your violin, your breath should move the instrument up. Don't try to move the instrument itself, don't try to conduct, don't try to shake your head - these are all distracting and confusing.

I once saw a wonderful concertmaster indicate dynamics in the rehearsals by crouching really low if he wanted the section to play softer, and lifting off his seat when he wanted it louder. That's not necessary in concerts but during rehearsals it was a great form of leadership. Believe me, if the leader all but disappears on a piano you instinctively player softly.

You cannot control tempi, only the conductor can. You can however address your section by speaking to them and giving them specific instructions like "we're rushing here." If you feel that the articulation is not matching simply remind them to all play in the same part of the bow you are playing.

Most importantly, listen to your section. Being a leader is an opportunity to develop your listening skills and learning how to problem solve. Also, be kind and humble, say hello to everyone. Thank the members of your section after a concert and congratulate them on a fine job. A friendly leader is more effective than a pompous show off.