June 21, 2014 at 05:18 PM I am in a summer orchestra that is playing much harder music than I am used to in my regular orchestra. This is a good thing overall. I will stretch myself and get out of my comfort zone. I love all this music, it's amazing to listen to. I also can imagine, in the possibly distant future, how good it will feel to play along with the orchestra, confidently and well.
June 21, 2014 at 10:04 PM Oh! And I also have to advertise my hometown band. If you're going to buy a recording of Sibelius 2, may I suggest Osmo Vanska and the Minnesota Orchestra? Or at least Osmo (I think his Lahti recordings are on Youtube). Reason being Osmo's Sibelius performances bring out the details (helpful) and the general structure (also helpful). He doesn't make it a sloshy Romantic mush. It's always very crisp and neat and Scandinavian, and regardless of if you like your Sibelius in that understated style or not, it's an excellent style to listen to while learning his music.
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June 21, 2014 at 11:08 PM You didn't know Lizst was an orchestral composer? Fortunately I found this out at a young age in the Edinburgh Rehearsal Orchestra, when we did the Liszt Faust Symphony (which I still regard as an absolute masterpiece).
June 22, 2014 at 12:51 AM For orchestral and chamber music, the number one rule is keep the rhythm, keep the tempo, and keep going. So for this, practice with a metronome religiously. Listen to recorded music while reading the score (or your part) until you really understand the piece.
Also, keep in mind that playing in orchestra is a team effort, so part of the responsibility to bring sub-groups, groups and the whole orchestra together lies on your leaders (section leader, concert-master and conductor). You have already noticed that looking at and following your section lead is helpful; your partner can also be a source of immediate support.
Lastly, listening with whole score in front of you and following your and other parts is a great time saver; playing in the orchestra often means a lots of listening and knowing who plays what and when - sometimes you support others, sometimes they support you and the real skill is to utilize this. Lastly, nobody can expect to be 100% "wired" all the time. Having "islands" of mental rests (while playing) and weathering the storms is something to be learned.
June 22, 2014 at 10:55 PM Don't panic too much about the Smetana. You'd be amazed at the amount of faking that goes on in very good orchestras in that piece. I think the List could be similar - and awful lot of notes that nobody will hear under heavy brass.
June 23, 2014 at 05:27 PM Even for seasoned professionals, music is always popping up which we don't have time to perfect. And often, for very difficult works, it may take several concert cycles to really feel comfortable with a work.
A friend of mine once told me, that she is always happy when there are black parts in the music, 64ths and so on... because its very straightforward to practice. I wouldn't say mindless, but the repetition makes things automatic. When you can play it at full speed while reading the newspaper, then you are ready to play in orchestra while watching the cunductor ;)
June 26, 2014 at 09:31 PM Lots of good advice presented here, and which I'm going to need bearing in mind the programme one of my orchestras has for the coming season starting in September and going through to the middle of 2015 - half a dozen concerts in which we're performing all seven of the Sibelius symphonies, plus his violin concerto, plus all Beethovens piano concertos, plus a few odds and ends.
June 29, 2014 at 09:24 PM How was my second rehearsal? A little better than my first. I did something else that I didn't mention previously: I enlarged the music from 8.5 X 11 to 11 X 17. (Music had been distributed as a downloadable pdf). Then at least I could see all those little notes and accidentals and ledger lines, even if they are still going by too fast. I had a new stand partner, who appreciated the enlarged music too.
One thing I noticed when I am playing with stronger players is that a phenomenon of being carried along with the music starts to come into play. Like drafting off the leader in a bike race, maybe. In my home orchestra, which is a volunteer community group with other adult starters and returners, I'm the concertmaster. I sit up right under the conductor, and I hear mostly myself and my stand partner. I'm expected to lead the section and I take the responsibility seriously. If I don't come in right, or if I do too much faking, I will cause at least a minor mess. But here, surrounded by players who are all better than I am, there have been times when I just rise to their level and my fingers are moving in sync with theirs. It's pretty cool, actually.
July 26, 2014 at 06:10 PM This is probably incredibly late for your purposes, but I recommend really hammering out the second to last page of the Smetana, which you've probably already done. This is one of the hardest passages in orchestral rep, depending on the tempo, of course. This is a piece that you will have handed to you many times over your career, so make sure you have a solid fingering, photocopy it, and keep it in your archives. There is nothing more frustrating than figuring out an awesome fingering, and being handed the same piece in 8 months and not being able to remember it. Also, you should practice it slowly 25 times for every one time you play it up to tempo. Make sure your shifts are incredibly solid, and the rest will come along.
May 26, 2012 at 07:17 PM I am doing a 4 day orchestral workshop at the begining of July. Between now and then I have almost 30 pages of orchestral music to learn (Hebbrides Overture, Beethoven's 7th and Mozart Clarinet Concerto in A). I am also preparing for a fairly difficult exam in a short period of time, so I can't spend hours everyday learning the orchestra stuff. Any hints on how to use the time I have really, really efficiantly? I have never played in an orchestra before so it is all new to me :)
In orchestra, as I've said previously, you're not responsible for all the notes. Of course, you have to know the material and try to nail as many notes as you can -- cleanly and in good form. The finale of the Beethoven comes to mind here. The note here and there that you don't play -- well, the odds are that your desk partner will play them. The audience should be none the wiser.
RHYTHM is much more important, really, than notes' accuracy. As a pp says, you don't "have" to get all the notes, but if you aren't spot on rhythmically, you will make problems for the section...it's the heartbeat of music, always, and you don't want to be the irregular hearbeat.
May 27, 2012 at 02:16 PM Marjory's point is crucial. When I did Rusty Musicians with the Baltimore Symphony, I had my teacher show me in the music where I was most exposed -- the parts I really needed to master -- and where I would be drowned out or was doing very fast runs and could fake it. That worked very well. Good luck!
May 27, 2012 at 08:44 PM I find that listening to orchestra music that I have to learn (and don't know well already) helps me to practice more efficiently, since I know how parts are supposed to sound. It helps to read the score, or even just your part, as you listen once or twice to see/hear how you part fits in with the rest, and to hear if there are any parts where your section is especially exposed. Then, just listen to the pieces as often as possible (when you're driving, etc) to get them in your head.
May 30, 2012 at 04:48 AM First of all, I have to say that is an awesome set of repertoire to be working on. Hebrides is one of my favorites, so is Beethoven's 7th. Secondly, I agree with the previous posts. For most of the music, you'll be able sightread it however, isolating the problem areas would be the most effective way to practice it. I know in the Hebrides Overture, there are ALOT of areas where the strings and specifically the violins are exposed. The same with both 1st and the 4th movement of the Beethoven. There are a lot of fast moving passages that are also played unison, some of which in the high octaves. I'd work on fingerings for any 16th note runs. Don't over practice though, there's no need to play the entire piece everyday until the performance, that takes the fun out of playing with the group. Have fun with it. Those are some pretty fun pieces. Do you play 1st violin or 2nd?
3. Start running entire pieces with metronome, focusing on stylistic elements as much as possible given time restraints, but above all else making sure you'll be in tune and in time with the orchestra.
For example, you have 15 minutes to practice. Pick one or two sections, work them up a few notches on the metronome. Write down the bpm where you left off either on a list next to your music or above the passage itself. Continue to whatever else you need to do. A couple hours later, you have another chunk of time. Revisit and work up those passages (and perhaps others) a little bit more.
June 2, 2012 at 11:51 PM If you haven't played in an orchestra before, the notes are the least of the problems! You have to fit with the others in your section and keep an eye on the leader (or your section leader if 2nd) and make sure you're using the same amount of bow and in the same part of the bow. As others have said - rhythm! It's no good playing all the notes if they're in the wrong place. And watch out for note lengths - the Beethoven 1st movement rhythm keeps changing - sometimes there's a rest, sometimes there isn't and it's deliberate. Dynamics (especially in the Clarinet concerto - the slow movement has to drop to a whisper). Don't worry about making a "nice" sound. That nebulous unfocussed sound with one hair of the bow sounds silly when you play on your own, but can be magical if there are 12 of you playing it.
There are some odd conventions in notating orchestral music that don't often appear elsewhere in violin music, so if you don't know the meaning of something, don't hesitate to ask someone experienced. 0852c4b9a8
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