Hybrid Arts Flutist



Posted on June 22, 2013 at 12:50 AM Comments comments (4)

As I suspected, Take 2 was different than Take 1! Good thing I took notes on both days, huh?


Parts 4 & 5 (Take 2) - Body language creates a sense of comfort


Performing is to share a piece of the soul

Today, I again asked the question, "What're some body language things that make someone look comfortable?"

  • Shoulders back and broad
  • Standing still
  • Confident walk with purpose
  • Posture
  • Talking to the audience, not at the stand
  • Smile!
  • Open face
I then asked, "What're some body language things that make someone look uncomfortable?"
  • Hunched over and scared
  • Tension
  • Robotic
  • Knees locked
  • Hiding behind the stand
  • Jittery hands
  • Shaky breath
  • Messing with hair
  • Looking scared
Do these kids get it or what?? True, just because you know it, doesn't mean you can implement it, but knowing is half the battle, right? Well, I'll get to why I think my stage class kids are totally the best in a second.

Like yesterday, I took each student out of the room and gave them a specific scenario, emotion or character to portray. I purposely gave each person either a huge challenge based on what I perceive in their personality or something that they could directly connect to a piece I know they're working on. For example, one student competed on the Faure Fantasie this week (and she did a lovely job, by the way...). To me, the beginning of this piece is pure heartbreak and painful loss. So, to help her find that zone, I told her the scenario: the love of your life has just died suddenly and horrifically and you will never fall in love again (I know... such a happy thought...). I knew this would be a challenge for her since I perceived her as being pretty shy. However, as soon as she entered the room, her face was bright red and she seemed on the verge of tears. 

Moreover, the entire room was riveted in silence as we watched her.

Another student had barely said a word all week during the class, so I gave her "frustration". She came stomping in speaking louder than I thought she could - she even yelled! Another student was instructed to fall in love with another student (she about jumped in someone's lap!), one showed the height of anger (pointed angrily at someone and began yelling at them), one the epitome of giddyness (jumping up and down with glee that filled her entire body) and one scared the entire room with his sense of evil and power ("I am the monster under your bed. I am everywhere. I will never go away." All while standing uncomfortably over someone else).

Reading that last paragraph, I really need to come up with happier things for my students to attempt. SORRY, KIDS!! Hilary got a little dark today!!

Anyway, needless to say.... I was simply floored by what they did. They went for it! They were clear! They were 100%! And I couldn't have been prouder.

Aaaaand then we went to my second activity of the day - sharing a piece of the soul.

As I said yesterday, you should really not ask teenagers to do something so difficult. Today, three of them started off refusing to do it. Two of those three did a variation on my request by explaining why they couldn't bring themselves to do it and that was more than fine for me. In fact, the student who didn't do it all - well, that was just fine, too! I mean, I get it. There's only so much I can ask of them and I had already got them close to tears, jumping up and down, and sometimes screaming. Asking them to share something that was real, was just too much. 

That being said, the students who did go for it, completely floored me with their vulnerability and honesty. For that matter, the student who didn't do it had the same reaction on me and she didn't have to say a darn word. I could see it in her eyes, and if there was a piece of music that required that level of vulnerability of her at that moment, she would've had the audience in the palm of her hand. 

What I saw today, proved to me that all of these students have it in them to be incredible performers. They have the ability to go 100%. They can allow themselves to be vulnerable and let the audience in. 

They can do this.

After everyone spoke, I asked for a big group hug (holy crap did I need it... not to mention some of them!) and I told them how proud I am of them. I can't say it enough. I want to tell them that I'm proud of them for the rest of the month/summer/year! 

If some of you Floot Fire stage presence participants are reading this, I hope you will always hear my annoying voice in the back of your head saying five things to you before you perform:

1. Stage Voice
2. Stay in the Moment
3. Go to Extremes
4. Share Your Soul 

And lastly:
5. I am just so proud of you

Thank you for making this a week I won't forget. I hope you will all take what I've said and apply it to all you do in front of an audience.


Posted on June 20, 2013 at 11:10 PM Comments comments (0)

Today and tomorrow will feature the same questions, but (possibly) different answers since half my class learned to beatbox today and the other half will learn tomorrow. (PROJECT Trio in da hizzy!)  I had originally planned on Day 4 being body language and Day 5 being a performance, but I decided to squish these two days together and teach the same class twice. So, tomorrow will have the same title, but will be Take 2.

Get on with it!

Part 4 & 5 (Take 1) - Body language creates a sense of comfort


Performing is to share a piece of the soul

Today I asked, "What're some body language things that make someone look comfortable?"

  • Relaxed arms
  • Open torso
  • Comfortable sitting position
  • Straight backs (looks professional)
  • Eye contact with the audience
  • Smiling
I then asked, "What're some body language things that make someone look uncomfortable?"
  • Crossed arms
  • Shoulders forward/collapsed
  • Sloppy walking
  • Seeming apathetic
After this brainstorm, I took each student out of the room and gave them a specific emotion. They would then enter the room and, using body language, speech and 100% commitment, attempt to portray that emotion as clearly as possible. The rest would try to guess what that emotion was. 

This game was harder than I thought it would be. It's very easy to portray "happy" or "sad", but to fully show "painful heartbreak due to a loved one's sudden death" requires some visceral action. This last emotion, I gave to the shyest student in the room. Perhaps this was cruel on my part (sorry!!), but I was hoping he would jump out of his shell a bit with this. I think I was asking too much too soon, but I could tell (after working a bit with him on it), we did get somewhere and there's potential there for something extraordinary. At one point while we were working, we closed the doors to the room and I screamed as loud as possible to demonstrate the kind of reaction I would have in that situation. Apparently another elective heard us... whoops.

At any rate, after this little exercise, we then talked about how some of the best artists seem to be sharing a piece of their soul with the audience when they perform. I then asked each student to say one thing about themselves (using a stage voice) that is essential to who they are as a human being. Not just, "I play the flute", but something deeper and perhaps secret about themselves. I asked them to really open up and share.

Now, asking a bunch of teenagers to share something is like asking a piranha not to take a bite out of your foot. But these students surprised me. Not only did they go for it themselves, but they sat and supported each other as each person went. Needless to say, I was incredibly proud of how they attacked this project.

Stay tuned for tomorrow's entry, Getting Comfy with the Stage - Part 4 & 5 (Take 2)


Posted on June 20, 2013 at 12:10 AM Comments comments (0)

My students in my stage presence class are pretty supremely awesome. I keep throwing crazy things at them and they're really going for it and giving it a shot. Here is today's brainstorm.

Part 3 - 100% Comimitment to Choices

Today's question was, "What makes an actor believable?"

  • Tone of voice
  • Appropriate emotion to the scene
  • Facial expression
  • Natural speaking (not just repeating lines)
  • Body language
  • Leave themselves room for improvisation
  • Staying in character

I then asked, "What makes Johnny Depp believable in 'Pirates of the Caribbean'? Or Natalie Portman in 'Black Swan'?"
  • The way they walk (body language)
  • You really believe this is happening to them
  • They give 100%

After this brief brainstorm (and a short discussion of the awesomness of Johnny Depp, Daniel Day-Lewis, Meryl Streep and Natalie Portman), we played the "Yes and No Game" where we had to converse only using the words "yes" and "no" while still being clear about the content of the conversation.

This seemed to be a little bit trickier than Zoom Schwartz and Prince of Paris for the students. I'll admit, this game isn't the best introduction to theatre improv since it's usually a good idea to start with the very basic concepts of improv first. That being said, I was mightily impressed by some of the students' willingness to jump in the deep end, even if they hopped right back out.

Tomorrow and Friday, our schedule is a little different - I'll be teaching the same class both days since half my students will be going to a different elective tomorrow and the other half on Friday. It's a long complicated story, but in short.... I have lesson plans for 5 days, but only 4 days to do them in. Alas. My plan is to do a brief brainstorm, one game and then the short final project thingie. We'll see how that goes. Tomorrow's post will include that brainstorm and probably a summary of the projects. I'll do the same Friday even though the question will be the same - mayhaps the answers will be different!

Stay tuned for tomorrow's entry, Getting Comfy with the Stage - Part 4!


Posted on June 18, 2013 at 11:15 PM Comments comments (0)

This week, I have the privilege of teaching at Floot FIre - Metroplex in Dallas, Texas! I'm teaching masterclasses, chamber music groups, and two electives, one of which is entitled "Getting Comfy with the Stage". Each day in this class, we are attacking a different aspect of having good stage presence and begin each day with a little brainstorm. 

Because my students are supremely awesome (and because I promised them I would), I'll be posting our brainstorms on here each day! 

I didn't post yesterday, because I was running on 2 hours of sleep and felt I should go to bed instead of attempting to mess with technology. So, I'll post both Monday's brainstorm and today's brainstorm in one shot.

Let's do this!

Part 1 - Using a Stage Voice

Yesterday, I asked the question: "What're some things that make a performer seem comfortable on the stage?"

  • Posture
  • Confident breathing (a shaky breathing = nervous!)
  • Facial expression
  • Confident entrance
  • Stage Voice
  • Seeing them (i.e. stand height)

I then asked them, "What makes a rockstar's performance awesome?"

  • Audience connection (talking to the audience between pieces)
  • Being open
  • Entertaining

See what I mean? These students are fantastic. It's like they've been reading this blog the whole time!! 

Since Monday was to be dedicated to the stage voice, I came back to that topic and asked, "If someone is speaking during their performance, what makes it possible for you to understand them?"

  • Projecting to the back of the room
  • Enunciation
  • Speaking slowly
  • Using hand gestures, but not too much (i.e. body language that enhances what is being said)

After this little brainstorm, we played the alphabet game in which we passed the alphabet around the circle, concentrating on eye contact and using a stage voice. After that, I taught them a few enuncuation tongue twisters. Here's a fun one to get your mouth moving:

You know New York

You need New York

You know you need unique New York

Tough to say quickly and clearly, isn't it? Once of these days, I promise to write an entry dedicated solely to using a stage voice. But for now, we'll just go on to Part 2...

Part 2 - Staying in the Moment

Today, I began by asking the question, "Why is it important for musicians to 'stay in the moment'?"

  • Staying in the moment captivates your audience
  • Maintain focus if you're nervous
  • Keeps you from going on autopilot and missing what other people are doing
  • You don't want to lose track of where you are

I then asked, "Why is it important for actors to stay in the moment?"

  • You don't want to lose character
  • If someone messes up a line, you have to be able to react naturall, not just repeat your normal lines (i.e. be ready to improvise if necessary)

After this brainstorm, we did a game called Zoom Schwartz (far too wonderful and difficult to explain at this time of night... I tried googling it, but everything I saw was a far different version that didn't look as fun. I'll post it here one of these days. Anyway, after Zoom Schwartz, we did Prince of Paris which is also insanely fun. Both these games require the players to be full committed in the moment, otherwise the flow breaks down. Needless to say, they did a wonderful job.

I'm looking forward to the rest of the week and seeing what other brilliant things they say to me!

Stay tuned for tomorrow's entry from Texas - Getting Comfy with the Stage - Part 3!


Posted on May 6, 2012 at 2:40 PM Comments comments (0)

I highly encourage everyone to speak during their performances. Speaking during the performance creates a connection between performer and audience and the stronger the connection, the better the performance will feel for all parties. In addition, by breaking that “fourth wall” (the invisible wall at the front of the stage separating the audience from the stage action), you bring the audience into your world and because this seems to be a rare occurrence in performances, audiences simply love it. That covers why you should talk, so let’s move on to what you should say.

Not everyone wants to read the program notes, because sometimes the notes can be too analytical for a non-musical audience (for example: “If one concept must be grasped, it is this - the ultra-polyrhythmic counterpoint always layers the intervals, and it must do so entirely simultaneously. This composition performs all sorts of pieces, before exploring somewhat ultra-semantically, and finishing with an extremely anti-12-tone series of 'tempo-challenges' [as I like to call them].”*) And sometimes audience members arrive too late to read the notes before the lights go down. At any rate, this is an opportunity to tell your audience what you get from the piece. Is it one of your favorite pieces? Why? Is the piece a standard in your instrument’s repertoire? Does it have an interesting story? Does the composer have an interesting story or connection to you? You get the idea. Make it personal and humanizing. Now, let’s move on to who should speak.

If you’re performing a solo recital, then you should do all the talking. It’s your gig and your responsibility. If this is a chamber ensemble concert with one group playing multiple pieces, then everyone should speak (or as many as possible). The gig is a shared responsibility and the speaking should be as well. For chamber ensemble concerts with multiple groups playing one piece each, choose the strongest speaker. There just isn’t time to get everyone to speak in this type of situation. Orchestra concerts should obviously be the conductor or the MC (if there is one) since they’re the authority in charge, so to speak. So when should this happen?

Depends on the flow of the program. If your opening piece needs to be explained (ex: the piece tells a story), do it! If you programmed the opener as simply an opener, then let it be and just play it. Talk afterwards. I don’t see a problem with talking before each piece – especially if you stay onstage for the entire performance. However, if you talk for each, make sure the information is important, interesting and concise. Random factoids for the sake of factoids are not a good idea if you talk prior to each piece. If you don’t want to talk prior to each, you can go with the method of after every other piece or just when it’s important. That being said, don’t leave all your speaking to the very end. It wouldn’t make sense in the flow of the program. Symmetry is not a bad idea, too! 

So… how to go about this?

Step 1: learn how to use your stage voice. This is incredibly important for instrumentalists. Vocalists are taught how to resonate while they sing and this frequently carries over into their speaking voices. This is very good for them because when they speak, people can always hear them (aaaand then instrumentalists make fun of them…;). Instrumentalists should learn from their vocalist friends – speak loudly and resonate often. I’ll ask one of my vocalist friends to explain how to resonate in a future guest post.

Step 2: speak up! If you’re not using a microphone, speak louder than you think necessary and much slower than necessary. Our tendency when nervous is to “sub-phonate” (not put enough air behind the words, creating a guttural voice) and speak quickly. Your audience will not be able to understand you if you do this and might be too polite to holler, “HEH?! WHAT DID HE SAY??”

Step 3: listen to your words. Especially be aware of the ends of words. Radio hosts can always be understood because they are profoundly aware of how to phonate without the words dying off. Enunciation is paramount in public speaking – to get your point across, you must first say it clearly. Ever hear a kid say “horror house” and get really freaked out about what they’re talking about? There’s a big difference between that word being 2 syllables or 1…

Step 4: plan out what you will say. Depending on how comfortable you are with public speaking, you can write out a full script to memorize or just plan out the details. Either way, figure out what you will say and practice. No one likes to hear you say “umm” and “uhh” several times in a sentence. It doesn’t sound polished or professional. (Side note: I had a professor say “umm” over 700 times in one lecture. Yes. We counted.) Remember, this is part of the performance, too.

Step 5: speak often. The more you speak to audiences, the easier it will get. Don’t be shy – just do it.

Stay tuned for next week’s entry, FOLKS WHO WORK BEHIND THE SCENES, where I discuss why you should be kind and courteous to this people. Well, you should do that anyway, but I’m going to discuss why you should be extra kind.

* Excerpt taken from The Contemporary Classical Composer Bull-Sh*t Generator: http://www.dominicirving.com/temp/cccbsg.pl?


Posted on April 29, 2012 at 2:35 PM Comments comments (0)

I’ve spent the last three weeks rambling on and on about what is and what is not appropriate attire. Now, I’m going to show you what I mean.

When it comes to small ensemble playing, I greatly admire the Afiara String Quartet not just as musicians (they are AMAZING), but also in how they present themselves. This is a picture from one of their performances:

Polished, well-fitting, comfortable, everything. If you were in the audience when this quartet walked onstage (and you’ve never heard them before), your first impression (which is visual!) would be that you knew you were in for a good concert.

This is the Xenia Ensemble from a performance in Italy.

I’m sure they’re a wonderful ensemble, but visually speaking, the only thing interesting is the 2nd violinist’s hair and the pipa player’s top. Oh. And the chairs. As I mentioned in Part 2, wearing all-black on a black stage, makes the ensemble disappear.

Here is a picture of the Imani Winds performing a young audiences show.

Notice that they aren’t wearing anything that makes them look imposing (such as all-black or tuxedos). The women are also wearing shirts that are appropriate for this type of performance (i.e. no cleavage) and yet all of them are still dressed up and look nice.

You may remember also from Part 2, my advice on making a choice. Just as Lady Gaga has made a strong to choice with her wardrobe, there are classical musicians doing the same. For example, take the spectacular violinist, Hahn Bin.

His attire is pretty out there (though he backs it up with amazing playing) and while I may not personally agree with his choice, I appreciate that he fully commitments to it.

Lastly, conductors should like nice, too. This is Larry Rachleff.

Not only is he an amazing conductor, but he is always dressed impeccably. His jacket fits, he can still easily move without his shirt cuffs sticking out a foot past his coat sleeves, the style is unique and it’s appropriate for the performance.

Hopefully, these pictures give you some idea of what to wear for your next performance. For now, I will get off my attire soapbox and go practice.

Stay tuned for next week’s entry, SPEAKING FROM THE STAGE, where I will discuss how to do that without sounding like the world’s worst music history teacher.


Posted on April 16, 2012 at 11:00 PM Comments comments (0)

If you haven’t had the chance to peruse www.awkwardclassicalmusicphotos.com, this would be a good time. That site has a plethora of bad fashion and poor choices for album covers and headshots. Just take a second and read some of the comments to understand why you shouldn’t ever pose in the nude. For that matter, you probably shouldn’t perform in the nude either. Unless of course, there is a specific reason for it, but that conversation is for another time.

When deciding what your small ensemble will wear, factor in the concept of your performance. Are you performing an all-baroque program? If so, perhaps mini-skirts and muscle-Ts aren’t the best choice. What image do you want to project with this performance? If you want your audience to leave the hall thinking, “WOW! SHE’S PRETTY!” then by all means, wear tight pants and a low-cut shirt. If that’s your goal, then go for it, but know that what you wear could overshadow the music.

Also think about what the performance space looks like. If you’re performing on a black stage with black curtains, then wearing an all-black outfit will make you blend in and de-emphasize your group. Instead, try a bold colored shirt or dress. Give your audience something to look at that won’t distract from the music at the same time. (My opinions on “new music black” in a future post.)

Consider the type of performance. When performing for little kids, all-black can be intimidating and tall heels will make you, well, taller and therefore farther away from them. When performing in a retirement community, jeans may not be appropriate. These folks are from a generation where jeans were more appropriate for fields and not for performances. I rarely saw my grandfathers in jeans much less at a nice occasion.

Be specific when discussing attire options with the group. “Look nice” means different things to different people. I know an absolutely incredible flutist (who is also a hybrid artist) who once told me that when she performed on a gala concert at the flute convention, she picked out her very best pair of shorts, her best vest and her best t-shirt for the occasion. She recalled thinking she looked really sharp. That is until people approached her and congratulated her on her outfit because she went up there and just didn’t care what she looked like. Oops! So, take the time to be specific about what “look nice” means.

Along the same lines as being specific, choose whether you will or will not coordinate. It’s awkward when 3 out of 5 people show up in shirt/tie and the other two are in all-black. If you decide to coordinate, think about the colors – are they clashing? Don’t ask the colorblind member of your group to answer that question. Some groups have everyone wearing the same shirt. Does it look super dorky? Yes… that IS a consideration!

A note to the guys: when the girls want to get specific about what to wear, don’t bug them about it. What you wear and how you look is important to the performance. It can add or detract from the audience’s experience. Wouldn’t you rather it added? If you don’t care what you wear, let the girls decide. They probably have a better idea anyway. If you’re in a group where no one cares about what to wear, make a choice. Be the one to make the choice. Which brings me to…

In theatre, directors are always instructing their actors to make a choice about a character or a line. In your imagination, what does the character look like? How do they walk? How do they talk? Etc. Not making a decision about how you will perform a character leads to uncommitted acting. The same goes with performing music. Make a strong choice with your attire. Consider the image you want to project, what will look good in the performance space, the type of performance and the specifics of the attire.

On a different subject, I apologize for posting a day late this week. I was having a wonderful time competing with the Indianapolis Ceili Band (pronounced “KAY-lee”) at the Midwest Fleadh (pronounced “FLAH”) in Chicago (hopefully you know how to say that one). In addition to being a hybrid artist and classical flutist, I’m also a folk music junkie and play Irish flute with the ceili band and in an Irish session in Indy. Ta-Da!

Stay tuned for next week’s entry, ACCOUTREMENTS, APPAREL AND ATTIRE - Part 3: Solo, where I discuss what to wear when you’re all by yourself… or in front of a whole bunch of people.


Posted on April 8, 2012 at 3:40 PM Comments comments (0)

So, I planned on getting all my attire opinions into one post, but I soon realized that it just wasn’t going to happen that way without being entirely too long. And I also need to do my taxes today.

I’m pretty opinionated about attire.

Let’s start with what to wear while performing an orchestra concert. Without a doubt, you’ve received a memo from the personnel manager stating the rehearsal and concert times/places as well as the dress code. If you didn't get the memo (Office Space? Anyone? Bueller?), it's your responsibility to contact the personnel manager and get the necessary information including the dress code.  Here is the dress code from one of the orchestras I play in taken directly from our most recent memo:

Men: White tie, white shirt, tails and tuxedo trousers. Black dress shoes (no boots) and black socks.

Women: Ankle length, solid black dress preferred (conservative neckline, no side slits, back slits six(6) inches or less), with at least 3/4 length sleeves. Solid black pants (no stirrup pants or leggings). Loose-fitting, opaque blouses or tops are acceptable. Leotard-style tops, bare backs, transparent lace, or flowered blouses/tops are not acceptable. Pants shall be with full (not snug fitting) pant legs. Black dress shoes (no boots, open-toed or clogs) and black hose. Conservative jewelry. Hair ornaments in black only.

For those of you who have played in an orchestra before, you’ve probably seen something like this. White tie and tails for the guys and all-black for the ladies (special orchestra dress codes will be discussed at a later date). Why so uniform? Why so boring?

An orchestra shouldn’t be seen as individuals, but more like a large school of fish working towards the same goal. That and if it were up to the individual’s taste, someone is going to show up in cargo pants, a stars and bars t-shirt, and combat boots. It probably happened at one time and that’s why orchestras had to crack down and make it uniform. I’m just kidding. It probably wasn’t a stars and bars t-shirt.  (It had long sleeves.)

So that’s why we should be uniform. But why is the dress code so specific?

Well, for guys there really isn’t much variation involved in white tie and tails, so they don’t need high amounts of specificity (and typically the gents aren’t as fashion oriented as the ladies). The only thing I have to say about the guys’ dress code is when the memo says “tails,” wear a freaking tailcoat. It’s obvious when you wear a tux coat instead. Don’t show up without a white tie, either. There are only so many the personnel manager has available for borrowing and you look like a moron to them if you don’t have a white tie! And do I need to say anything about white versus black socks? Always have a ton of black socks on hand and wear them in the concert. White socks and a tux looks supremely awful. I guess what was three things. Oops.

Ladies. Where do I start? I feel like I should have a post dedicated to what girls should and should not wear in an orchestra concert. We girls like to look good and we think any public event is an opportunity to go all out with the fashion. But as a school of fish is all uniform, we need to restrain ourselves a little bit from the more extreme versions of “all-black”. Let’s start at the top and work our way down.

I want to die my hair a spectacular color someday, but until I’m not playing in an ensemble where uniform dress code is necessary, I’m going to have to hold off. Why? Because bright blue hair will distract from the concertmaster’s solo or the quiet minutes in a Mahler symphony. The music is the important part and any visuals should always aid, not distract. Hair color can be distracting if it’s bright and un-natural.

Cleavage is a no-no. It’s not appropriate for the girls to be peeking out of your shirt, so wear a camisole and keep ‘em covered. It's not difficult so don't put the personnel manager in the awkward position of having to tell you that what you're wearing is inappropriate.

When the memo says loose-fitting, opaque, long-sleeved tops, that means that’s what you should wear. Don’t wear short sleeves and certainly not sleeveless. The audience will get distracted by your bare arms flying around which is why orchestras require ¾ to full length sleeves. While doing my undergraduate degree, one of the concertmistresses always wore a dress without sleeves and with a low, open back. People would be talking about her attire for hours afterward instead of the performance itself. That shouldn't have been the point of the concert.

Pants and skirts. This is not the time to show off your hind-end. Well-fitting is good, but don’t wear skinny pants especially when it says not to do that in the memo!

If the memo says close-toed shoes, that’s what you should wear. Same with black hose/socks. In one of the orchestras I play in, another orchestra member wears black socks with a colored print on them. I have no idea why she thinks this is okay. It’s not cute. It’s unprofessional. Are you catching the pattern here?

Now don’t get me wrong, I think well-fitting clothing is important. One does not need to look frumpy to comply with professional. But this isn’t a fashion show, so stay to the conservative side of your outfit. Save the skinny jeans and low-cut tops for the after party if you so desire.

The biggest part of this rant is respect. It may seem silly that the orchestra is being so specific with the type of jewelry you’re allowed to wear or the type of shoe, but that’s their rule. This orchestra hired you, so show them the respect they deserve by honoring their dress code. It’s very simple and it’s what’s appropriate.

Stay tuned for next week’s entry: ACCOUTREMENTS, APPAREL AND ATTIRE - Part 2: small ensembles, where I discuss coordinating (and not) within your small ensemble.


Posted on April 1, 2012 at 3:30 PM Comments comments (0)

We’ve all been in that concert with a multi-movement work and after the exciting first movement ends, the audience erupts into applause… for a second. Then they realize that was wrong and stop doing that.

There are 2 ways that people handle this situation. The first (and most prevalent), the performers sit there quietly, ignoring the applause until they stop. If they don’t stop quick enough, one or two of them turn to the audience, give a half smile and a quick nod and turn back to the music/instrument.

The second way, is that one person (usually the conductor) makes some sort of shooshing gesture that looks something like this:

Before I give my controversial opinion on the subject, I’m going to discuss why I don’t like either option. The second, is obvious. If you respond to the audience in that manner, it’s like telling them “SHUT UP!” and we’re taught from an early age that you shouldn’t do that. It’s simply rude. The audience has spontaneously combusted into a display of appreciation and you’ve just told them that you don’t care about that. This reaction also makes them verrrrry nervous to applaud for the rest of the performance. The audience is now more worried about when to applaud than listening and appreciating the performance.

The first reaction is okay but seems a little snobby to me. Ignoring the applause until you absolutely have to condescend to nod to them seems awkward and fake.

There is a better way!

Smile, nod. Maybe even mouth “thank you” and do a neck bow. Most importantly, do this once the audience starts clapping. It doesn’t need to be rushed (that also might be interpreted as “Shut up! I want to move on to the next movement!”) nor have any grandiose movements (after all, we don’t want them to think that this is the end of the whole darn thing!). It just needs to be a simple, genuine acknowledgement of their accolades.


Yeah yeah yeah, whatever. Not too long ago, audiences actually applauded between movements and it was okay!! Why can’t they do it anymore? Well, there is a valid argument for that. The composers wrote the multi-movement work to form a full piece. The single movement is only a portion. I can understand that viewpoint, but then again wouldn’t you want to know, as a composer, that a particular movement was so spectacular that the audience couldn’t help themselves? This is where I expect my composer brother, Brett Abigaña, to chime in with some choice composer words.

I’ll leave that argument for another time. Or for the comments section. I’ll also leave the post instructing audiences when they should applaud for another time. Suffice to say, that if the audience applauds between movements we performers should acknowledge it and graciously accept it. Not ignore it or make a rude attempt to shut it up.

Stay tuned for next week's entry, ACCOUTREMENTS, APPAREL AND ATTIRE, where I discuss what is and is not appropriate to wear for a performance. 


Posted on March 25, 2012 at 4:05 PM Comments comments (3)

We bow to thank the audience for their applause and our audiences applaud because they appreciate what we do. Both are important to a performance and both should be genuine and happen with grace.

As a musician, I hate applause if I didn’t deserve it. I just want to stop the audience and say, “Look, I’m sorry, but that was a particularly (insert naughty word for “bad”) performance.” However, our society has developed so that it is inappropriate not to applaud at the end. So, they’re gonna do it and you’re gonna like it. Now the trick is to convince the audience that they just experienced a stupendous performance (no matter how it actually went).

Step 1: Smile.

Musicians don’t do nearly enough of this in my opinion. I mean, seriously. We’re not grumpy emo teenagers anymore, are we? (Well, maybe some of us are, but you have to pretend like you’re not). When the piece ends, smile. In fact, make it a HUGE smile that could be seen from the back row of Carnegie. Show the pearly whites! Don’t fake smile (known in the theatre world as “mugging”), because the front row will see that. Just smile.

Step 2: Bow. This can be tricky. If you’ve got an instrument, you have to negotiate the mechanics of holding the thing, any non-attached accoutrements (i.e. a bow), music stands, chairs, etc.

First of all, if you’re sitting, stand up. You look lazy if you bow sitting down.

If you have a stand in front of you, take a small step to the side so you can bow into open air. It doesn’t need to be a gigantic step. Just a step to give you some room.

For percussionists, don’t hide behind your set-up. Just like with music stands, step out from your hidey-hole, give us a smile and bow. Here’s a video of an awkward percussion bow and a good percussion bow.

For string players, you have to negotiate your bow. Many folks put both instrument and bow in the same hand while some folks have their instrument in one hand and the bow in the other. Whatever you decide to do, make sure your bow doesn’t go flailing behind you. A friend of mine (who shall remain nameless) does the bow flail and it looks aaaaawkward

For folks who play big things (ex: tuba, cello, bass, bassoon, etc), I encourage you to find a way to bow with your instrument so you can bow through your back – not just your neck. I’ve seen many big instrument players bow from their neck because their instrument is in front of them. This doesn’t convey as much of an air of appreciation as a full back bow. Here’s a video of a neck bow and a genuine bow from behind a bass.

Most importantly, get comfortable in your own skin. If you feel awkward, you’re going to look awkward. Perhaps like this:

However, by practicing your bow in front of a video camera and becoming comfortable with the action and how you look, the effect will be significantly different. This is how I bow:

A big thank you to Greg Jukes and Greg Olson for allowing me to video their bows!

Stay tuned for next week's entry, APPLAUSE HAPPENS, where I discuss.... well... applause.

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