How Does an Orchestra Work? Location: The following observations of an Orchestra are at UNC Charlottes Robinson Hall.

The room is a large rectangle with about twenty-five chairs in a semi-circle around the conductors podium. The picture below is a representation of the room and how it is arranged. This particular orchestra does not have any harps, pianos, tubas, trombones, bass clarinets, contrabassoons, piccolos, English horns or percussion other than timpani.

I will be observing two Symphony Orchestra rehearsals. This particular figured world is made up of a large group of student musicians and the conductor. The main goal is to bring the notes off of the paper in front of the musicians and make music. Although this is the main objective, learning new techniques and small side conversations do occur. This is a class offered though the universitys music department and the participants do get credit. It meets every Wednesday from six to nine. Figured World: Rules and conventions: are established within a figured world to maintain order and to establish strict guidelines so that it is easier to achieve their shared goal. It is the students responsibility to be early to rehearsal so that you can unpack and warm up properly and then start on time. People should always have their instrument and all of its parts. Remember to bring a spare if it could break or get lost. This includes always having a pencil for marking your music. If the conductor repeats something twice write it down so you do not forget it. Mark your music. It is important to always have all of the music you are playing. Be prepared to play your music and focused. Do not be afraid to ask questions if you do not understand something or need help on a section. Do not disrespect any other person in the orchestra for any mistakes or questions they ask. Everyone makes mistakes. If you make one take the blame but, fix it for the next time and use only constructive criticism. Do not talk while the conductor is talking. He is saying something relevant and important. Do not talk in between pieces of music. Do not mess with anyone elses instrument unless you have their permission. You do not want to break anything. Horse play is not acceptable because there is a lot of valuable instruments and equipment everywhere. During tuning, do not talk or play anything other

than tuning notes. Making music is more important than talking about how your week has been. Keep one eye on the music and one eye on the conductor so you keep a steady beat. Always watch the principal player so that breathing and bowings match. Wear appropriate clothing. If you wear a dress, be mindful of how you sit. For concerts, wear only black with as little white as possible. Stay after rehearsal to pick up your chair and stand. Important terms: for understanding. Bowings: All string instruments use a bow to produce a sound (Ex. 1). Bowings are what direction the bow is moving in order to make the sound. If the bow is moving from the frog towards the tip, it is a down bow. If the bow is moving from the tip to the frog, it is an up bow. Each string section is to have their bows moving the same direction and in the same part for the visual effect.

Tip

Ex. 1 Fingerings: are how a musician makes notes on a string. By placing a finger on the string it causes the string to divide and the length shortens causing a different, higher, note to sound. There are many variations to produce the same one sound because the string or strings can be divided with each of the four fingers; the pointer finger, the middle finger, the ring finger and the pinky of the left hand. Breathing: at the same time allows people play together and it is also important for people who are brass or woodwinds because they need the air to make a sound on their instrument. Tempo: is how fast or slow the music is. It is what you tap your foot to when listening. It is set by the conductors baton and how fast or slow he moves through the patterns. Tuning: is how the orchestra centers its notes so that they sound the same. The orchestra tunes with the note A. It is given by the oboe for the various instruments to tune. Tuning is extremely important because it makes it so the music sounds good to the audience rather than making you cringe. Discourse communities: are a group of people who strive to achieve a goal and communicate in their own ways within their own figured world. The Orchestra: The Orchestra as a whole relies upon each person to have his/her part(s) prepared. The main way of communication is though the music they produce. However, supplemental instruction must be added in the form of verbal communication given by the Conductor or the

principals to fix issues such as tempo or intonation. They all work together to reach their goal of creating beautiful music. The Different Sections: Verbal communication is vital in communicating within a section. Ideas, bowings or fingerings must be told to all members of the section. Playing their instruments is a supplemental in the explanation. Visual cues also play a large role because all players in the section watch the principal player to guide the bowings and give other important ques. Their main goal is to have the section balanced within the orchestra and to make their part fit into the larger puzzle. Actors: are individuals who act to complete the goal or play a role within a figured world often using artifacts to aid them. Conductor: The Conductor is the most important person in the orchestra because he gives the orchestra a person to watch and keep tempo. He also is the person who decides which shape the music should take and how to get it there. Faith: is a junior at the university and she is the principal player of the first violin section or the Concertmaster. She has a specific job which is to lead the orchestra in tuning and also to set the example for other people in the orchestra. She is to work closely with the conductor to work out problems and is normally the one who channels problems to the conductor. Principal players: are the first chair people in every section. This position is filled by the most skilled person in a specific section. Each is responsible for making sure their section is on task as well as making sure they get any new bowing or other technical updates. Students: The students have a responsibility to take their part in the orchestra seriously. This is to help make music but also to learn something. Artifacts: are objects that play a significant and meaningful role within a figured world. Instruments: The most important artifact to a musician is their instrument. This allows them to make music and also to connect with other people on a new level. Conductors Baton: is important because it defines the tempo at which a piece is taken. It is the universal metronome of the orchestra and it keeps everyone together. (See picture to the right) Podium: is an important artifact because at concerts the musicians know that when the conductor gets up to the podium that instruments go up to playing position and that there is work to be done Chairs: Although they are just chairs they hold a symbolic meaning. Each chair is often numbered and the chair you sit in reflects your playing ability. Many often compete for the higher chairs and this forces people to constantly practice and get better. Observation One: This is a full rehearsal of the orchestra. It is the first of the semester. 5:50: Many people are entering the rehearsal space with instruments and are finding their way to a chair within their section. They begin to unpack their instruments and warm up or tune. Small groups

are formed based upon the instruments they play. Many talk about how their summer was or a few whisper I hope we get out early. 6:00: The conductor enters with his iPad and a pile of music and sets it all on the podium. A few of the upper-classmen converse with him about what music he selected. A few people enter and unpack. He separates the music into piles based upon piece then passes them out to each section and returns to the podium to get the next piece. Most students flip though the music and look at the keys or any hard parts they spot. 6:07: The conductor has finished passing out the music and returns to the podium. As he steps on, he motions for everyone to be quiet. He introduces himself and announces he is going to go briefly over the syllabus. Small side conversations between stand partners begin and small introductions are made. Most students are anxiously anticipating the end and are looking at their music. 6:16: When he is finished, he motions to Faith to give four As. She rises and motions to the oboe to give an A for the brass, one for the woodwinds, one for the low strings and one for the violins. Tuning has finished and people return their attention to the music. 6:20: The conductor lets everyone look over Bizet for two minutes and many flip through the music attempting to spot any trouble spots. He then motions that he is ready to start and the students begin Bizet. 6:30: The orchestra reaches the end of Bizet and the conductor releases them for a 5 minute break. Many side conversations erupt within the sections and with stand partners. 6:35: The conductor passes out a new piece, Sibeliuss Finlandia. The students begin flipping through the pages and look for trouble spots. The conductor returns to the podium and he and the students begin the piece. When it begins to fall apart he stops and has the students regroup. 7:00: The conductor releases the students early to enjoy the rest of the night. The students begin to pack up their instruments and the music. As people finish packing up they intermix to pack chairs and stands away. Most people say their goodbyes and leave; however, a few students remain to speak to the conductor about the music. Observation Two: This is the second rehearsal of the orchestra. This rehearsal was only the string section or violins, violas and celli and the bass. 6:25: Most of the string students have arrived and are unpacking their instruments. Their music ends up on their stands in front of them. Many of the students are talking with one another about how their week was or other news from the long weekend. All of the string students sit within their section but converse with all of the other sections. A few others are practicing some of the challenging parts in the music. 6:30: The conductor arrives and brings with him his iPad and a stack of papers that the takes to the podium. He announces that there is a lack of brass instruments in the orchestra so we will not be playing the Bizet or the Sibelius. A few students complain that they have practiced that music already. He encourages them not to be frustrated but to look at it as a learning experience. He begins by passing out the new music to the students. The students flip through the music to spot trouble spots. He asks if there is an extra violin for him to play along with the orchestra as they sight read. He finds one and

returns to the podium. He then turns to Faith to give two As for tuning, one for the low strings, the Basses and celli, and one for the high strings, the violins and the violas. Once everyone is tuned they begin. 6:42: The conductor decides to start with the Mozart he has just passed out. The students look through the music for anything challenging. Many notice the 32nd notes and panic. He counts off at a slow tempo and the students begin to play. He plays along and tries to help hold the strings together. Although this works for the most part, he has to stop occasionally to address an issue and regroup everyone to play. Most of the students listen to the principal players or the conductor to make sure they are correct. After, he has the students speed up the piece to a tempo which is closer to that of the final tempo. 7:15: The conductor congratulates the students on making it through their first piece. He allows them to take a ten minute break. All of the students put down their instruments and stretch. Most get up and walk around to talk with people in other sections and relax. After a few minutes a few students return to their instrument and music and try to find and fix mistakes they made in the music. The conductor talks with a few of the students about how they are doing and what caused the lack of brass. 7:25: After the ten minutes are up, the conductor returns to the podium to continue. He has Faith give another A for tuning. After everyone is back in tune he decides to play the Chaminade. He counts everyone off and he begins to play with everyone else. He stops several times to fix small mistakes such as the dynamics or to target specific entrances of various instruments. He has the orchestra play it a second time to try the corrections he has made and to take it a little faster. Observation Three: 7:40: The conductor proceeds to the Elgar. He realizes that a girl is without her instrument and he gives up the one he was using. He laughs at himself for not realizing that she was without an instrument sooner. The students take the moment to look ahead in the music to spot any trouble spots and note the dynamics he had mentioned previously. They proceed on his count and make it through the piece without any major issues. 7:55: The conductor is satisfied with the Elgar and moves on to the Bartok. He mentions that this piece is a little tricky and tries to point out helpful fingerings to the first and second violins. He begins by starting the first movement. Although it was not perfect he moves on to the second movement. He stops the orchestra several times to fix intonation issues and find useful fingerings for the violins. He then restarts them and they finish the piece. He continues to the third movement which the students play though. He then decides to play all of the movements again at a tempo that is closer to the final tempo for fun. 8:25: Although it does not go perfectly, he decides to move on to the Rossini. He and the students take a look at the music for any hard parts that might cause them problems. The conductor points to a rhythm and the students go to that measure and play. They do this twice and then go to the beginning of the piece. The conductor starts and the students follow baton. He calls out to fix dynamics but, does not stop the orchestra. The next section with dynamics similar to that he calls out again but the orchestra has fixed them. 8:50: After they finish the piece, he mentions that there will not be rehearsal next week but, to practice the music. He then releases the students to go and put their instruments away. The students begin

normal conversation again within their section and pack up. They begin to intermix as they put stands and chairs away on the racks and talk about what their plans are for the rest of the night. As the students finish cleaning up they begin to say their goodbyes and leave to go back to their dorms, apartments or home. My interactions: I have played with a full orchestra five times before this class. From the fourth grade until my senior year of high school we had a string orchestra that was only the violins, violas, celli, and basses. My experience outside of the school orchestra is where I first had my real experience with a full orchestra. Although I loved the schools string orchestra, the music never feels or sounds complete until you have a full orchestra with the variety of tonal quality, textured and layered music that is written for a full orchestra. I am a member of the viola section in the Symphony Orchestra at UNC Charlotte. I have always loved music and I want to continue to play a role as an actor in this figured world to bring the black and white paper to life.

Interview: 1. 2. 3. 4. 5. What made you join the Symphony Orchestra? / Why are you still in it? Tell me about your experiences in Orchestra. How long have you played your instrument? / Why are you still playing? What do you hope to gain by being a member of the Symphony Orchestra? Why do you think others are here in this class?

Aura Johnson (Freshman): 1. I wanted to continue playing music in college since I am not a music major and could not play music every day. 2. So far the experience was pretty interesting because I have always played in band, not in an orchestra, so the experience was new but great. 3. I have played for 6 years and I want to continue to play percussion to enhance the skills I acquired and to improve them. 4. To learn how a Symphony Orchestra plays together in a piece of music and how different string instruments sound. 5. Besides from the ones being required to take it as part of their major, I think they are here to make music that they enjoy and to meet likeminded individuals.