Concertmaster routine/etiquette

November 22, 2005 at 12:41 AM · You should probably ask your teacher about these things.

November 22, 2005 at 12:54 AM · If you are in England you'd stay on stage with the orchestra until the conductor leaves (after his bows, etc.)....and THEN....you'd stand up and everyone would clap for you! This was my experience at the Royal College of Music!

November 22, 2005 at 01:33 AM · Talk to the conductor. Usually they will have a preference. It varies from orch to orch.

November 22, 2005 at 01:46 AM · lol-I was playing concertmaster for the first time last month in my university orchestra, and my stand partner gave me prompts, which was rather helpful! I definitely stood a little bit late when the conductor walked on!

November 22, 2005 at 02:46 AM · The orchestra I am in has a lot of non-music majors, so they don't know all of the concert ettiquite (sp?). Last concert, the concertmaster forgot to stand when the conductor walked out, so when he got to the podium, he had to turn to us and motion for us to stand. lol.

November 22, 2005 at 03:06 AM · Hi Alvin. Congrats!

Most CM duties vary from orchestra to orchestra. Either you will come out with the other players and tune to the oboe or if it's a pianist to it and then rise when the conductor hits the podium (the same with a soloist or soloist & conductor) with rest of the orchestra following your lead, or, you will come out by yourself, bow, tune the orchestra and then follow through the same as above.

Tuning order also varies, but usually it's woodwinds (since the oboe is one), the brass, then upper strings and finally lower strings. Keep everyone else quiet while a section is tuning so you establish a good rapport with the oboist (which you should do before hand anyway). This can usually be done with a well-intentioned glare. Some conductors want the CM to have the 'A' to begin and in that case you won't use the oboist, but that is more rare.

Don't offer to shake hands with the conductor or soloist unless they offer first, always use your right hand in a hand-shake (though be prepared on the off-chance to use your left if the soloist offers you a left). After you've tuned make sure you pass the signal for everyone to quiet down to await the conductor or conductor and soloist.

There are other rehearsal duties. But these are the ones to remember for concerts.

November 22, 2005 at 05:59 AM · ^Funny that you mention that I should try to develop a good rapport with the first oboist...since she's my ex. :-D

After intermission, I walk out again by myself to tune the orchestra. When the conductor comes out, after intermission, should I go ahead and have the orchestra stand up again?

November 22, 2005 at 08:59 AM · Always.

November 22, 2005 at 06:20 PM · Alvin - Usually in the second half of the concert the orchestra does NOT need to stand up unless the conductor motions for you to stand up.

November 23, 2005 at 07:37 AM · Well actually I've noticed generally with most professional orchestras that in the 2nd half the concertmaster comes out with the rest of the orchestra on stage. Some professional concertmasters I've noticed don't ever play in the concerto accompaniment only in the overture and symphony. The only main duty in the 2nd half is just to make sure to get an A from the oboe for the orchestra to tune.

November 23, 2005 at 09:09 AM · I've noticed concertmasters also leave separately before the rest of the orchestra, when the concert is finished. Only in Australia though. In the US, I seldom see this.

Would you say it's the concertmaster's responsibility to queue the tuning? Or also to make sure the orchestra is properly tuned? I'm sure the oboist could queue him/herself to play the A so everyone can tune. I've never seen a concertmaster reject a section's tuning, or request them retune because he thinks it's unacceptable. If the orchestra has a set routine of what groups tune and in what order, then all that is needed is a prompt to begin tuning.

November 23, 2005 at 09:19 AM · Hi Sal, I'm a little confused. The question was:

"When the conductor comes out, after intermission, should I go ahead and have the orchestra stand up again?"

to which I answered "always." The rest varies.

And yes, in the second half you can come out with the rest of the orchestra (it depends on the venue). Some orchestras have handbooks or manuals for orchestral etiquette. Many are published on the web. Take a look.

When you get into professional orchestras much does vary from orchestra to orchestra. Pro orchestras have unions as well as Boards of Directors. In these orchestras the relationship between the conductor and the orchestra is not always the same as in non-professional orchestras (which I thought you were talking about) since it is often reached by agreement between the Musical Director/the Board/and the union and usually published, like I say, in a handbook of some description.

I would say that it is fairly standard for the CM to stand, followed by the rest of the orchestra, whenever the conductor comes on stage, and even though I think most professional orchestras do as well, some don't. Call me old fashion, it just looks better to me. I'll stand by that (heh).

November 23, 2005 at 09:20 AM · Hi Gregory. Usually after the woodwinds and brass tune, the concert-master will take the 'A' and tune the string sections from their 'A'. This simply makes it easier.

November 23, 2005 at 10:57 AM · Yeah, but the orchestra should be able to tune just as well with an oboe playing it, rather than the CM.

I think it's mostly tradition.

November 27, 2005 at 07:38 PM · My pet peeve with concertmasters is that many do not prepare the bowings prior to rehearsal!! I'm referring to semi/non-professional/youth orchestras. Nor do they provide 2nd violin bowings or at least a copy of the 1st violin bowings so that the Principal 2nd can at least coordinate the 2nd violin section bowings with the 1sts.

I was fortunate enough to grow up sitting as concertmaster in most of the orchestras I played in so that I learned along the way. I think that all youth orchestras should education ALL the string (and wind) players (not just those sitting in principal chairs) on principal chair etiquette just in case anyone does have this opportunity in the future.

Being prepared is by far the most important service the Concertmaster can provide to his orchestra! Good luck and enjoy this wonderful opportunity!

Catherine

December 1, 2005 at 10:25 PM · Just a quick pet peeve of mine in regards to soloists. Just last concert, we had a soprano sing with the orchestra and when she finished, shook the conductor's hand....and walked right past me....twice. Now that's a slap to the face.

December 1, 2005 at 10:28 PM · Sounds like she's the one who needs to brush up on her etiquette! Did you have anything noticeably gross on your hands!? :-) (cheetos, rosin, doritos)

December 1, 2005 at 11:42 PM · Hi,

She's a singer. What can you expect... ;-)

Cheers!

December 2, 2005 at 01:11 AM · Singers for the most part are airheads.

December 2, 2005 at 02:38 AM · hey! as i singer, i resent that...:)

no it's true.

concertmaster etiquette: well that depends. traditionally, the concertmaster was the one who would take over in case the conductor couldn't do his duties. nowadays, the biggest issue is to know whom to tune to. hehe, at my orchestra rehearsal the other day, we didn't have any oboes and we had a fill in conductor for the day. we tuned to bassoons :)

basically, you need to stay on your toes. know when to stand up and such.

December 2, 2005 at 03:10 AM · tune the strings first!! do something different!!!! please!!!!!!!!!!!

December 2, 2005 at 07:17 AM · I get a kick out of how some oboists in student orchestras give a completely different A to the strings, winds, and brass. The music afterwards in these cases tends to be pretty grim.

December 10, 2005 at 12:29 AM · I can't remember the last time I encountered this, but what about if there are three different conductors on one program? It seems like a lot of standing and sitting for each one, but maybe it is disrespectful not to stand for each. What do you all think?

December 12, 2005 at 12:10 AM · It's not really up to you to stand up anyway - the conductor usually walks on from the left hand side of the orchestra so you can't see him, so it's actually the cello section principal that initiates the standing up

December 12, 2005 at 08:07 AM · Jonathan,

I remember when I was playing in an orchestra, the front-stand cellist would use hand, eye, foot or some other gesture to signal to the CM that the conductor is on stage. The CM would then lead the orchestra to stand. It was quite effective... and also set the scene for all future collaborations with the cello section :-)

December 12, 2005 at 09:28 AM · That's actually interesting, because in Israel in most of the orchestras/halls the conductor walks on from the right side of the orchestra, for instance in the Mann Auditorium of the Israel Philharmonic. I don't think there even is an entrance on the left hand side!

But then again, we drive on the right hand side too....

December 12, 2005 at 09:38 PM · If the conductor comes in from the right, from which side should the concertmaster enter?

December 12, 2005 at 10:16 PM · concertmaster should enter from same side as the conductor but comes on first and receives a separate applause. Regarding the condctor entering from which side, it doesn't really matter because you just stand when the audience applauses. But make DAMN sure that you talk to him about etiquette at the end, when to sit down etc because that's always a ritual that's milked in many ways, make sure that when you sit down at the end, the conductor doesn't come back on again for another bow, so agree on how many times he;ll come back and show off :-P

December 13, 2005 at 05:15 AM · Listen guys and girls.... There is a lot of confusion here.

Here are the rules, pure and simple. There are no rules. There are certain set standards, etiquettes, traditions, whatever you want to call them... Each orchestra has their own traditions.

Here are the standard procedures of major orchestras. The lights go down, the CM walks out , takes a bow, and the oboist gives the A. The order of tuning depends on the traditions of the orchestra - some do Winds, Brass, Strings; some do Winds AND Brass, Strings; Some do Strings, then Winds and Brass.

It is a good idea for the CM to remain standing until the tuning is complete - just to make sure everyone has had enough time to tune.

As the conductor is walking out, the CONCERTMASTER leads the orchestra in standing up as a sign of respect towards the conductor.

In the second half of the program: Depending on the orchestra, the CM is already out on stage with the rest of the orchestra and procedes to tune the orchestra as the lights go down, OR comes out on stage after the lights are down and tunes the orchestra.

The Orchestra USUALLY does not stand up on its own as the conductor comes out - only if the conductor motions for the orch. to stand up.

These are the rules, plain and simple. Hope it clears up any confusion that is in the posts above.

December 13, 2005 at 06:44 PM · Yep, it's pretty much up to the conductor and you, so make sure you discuss the routine with the conductor.

Also, with the whole coordinated standing up of the orchestra bit, it's a good idea to catch the eye of the principal cellist, so that you stand together. (Especially if you're short, like me, it's sometimes hard for the rest of the orchestra to tell when you're standing! ;))