I need some help. Musically inclined/pursued readers of this post, give me your insight.I went to see a symphony. A semi-professional mediocre symphony, but a symphony nonetheless, comprised of talented adults. For a few of the songs there was choral accompaniment.
I would like to know if there are vast, distinct differences in conducting techniques between different types of conductors (solely choral compared to solely orchestral or solely wind/brass/percussion.)
The reason I ask this is because the different sections of the performers seemed out of sync. Ignoring the plainly confused percussion section, the brass instruments seemed a stall behind every beat that the stringed instruments played. It seems the choir is used to excess instruction and when neglected by the conductor, also lagged somewhat. Ignoring the rushing 1st violin section with various instances of displayed differing bowing, I saw the viola section heavily influenced and overpowered by the brass instruments in the back whom were not playing with the rest of the orchestra exactly.
Also, I would like to know the basic tendencies of these three groups in comparison to each other. Do brass instruments not pay attention to tempo changes signified by the conductor, just moseying along as they listen to those around them? Do they tend to rush? What about a chorus? Are they apt to drag or rush or meld? Does being in the back of the group of performers cause the singers to not be able to pick up on tempo changes quickly enough? The orchestra? Do they slow down on most occasions or listen to each other moreso?
Maybe there is something in the way of acoustics which make one instrument or voice ring longer or be heard later which I am not accounting for because I do not know much about it. The auditorium was not completely professional and catering exactly to having the best, but I was sitting 4th row center, so my placement shouldn't have been a problem.
I suppose what I want to know is, why was this group seemingly together in sections, but almost hard to bear as I noticed their differing interpretation of the conducting. He seemed like a wonderful conductor, but why, why, did it not sound together to me?
sidenote:
For while now, I have began having a grudge against the jazz band, for they leave puddles of spit from their instruments at 0 period for the orchestra students to step on and get on their cases during 1st period. (I'm sure I have mentioned this). My running slightly obscure and moderately entertaining joke to my fellow violists and the 2nd violins is "Dang, if this keeps up I will be forced to give the band a bucket for Christmas." (Even as I am Jewish, the holiday still deserves a place in that joke as long as my audience is mostly comprised of Christians.)
Seeing as how "the holidays" have passed, I can no longer make that joke anymore and I am actually now considering doing this for real. When I told my mom about this, she made a suggestion to make this obnoxious gift idea into a practical joke: flood the band room with spit. Or maybe she said that at least it isn't as obnoxious as a practical joke as it is kind of nice in some ways, and I suggested it. I can't recall. But either way, she gave me the idea. And as the school is being moved anyway, I see no problem. It might be hard to obtain such a large quantity of spit though... all I need is enough to cover the floor. =) That will show 'em. hehehe.
6 comments:
please don't flood your band room with a spit. as a brass player i know it's obnoxious for people to have to deal with our water, but getting that quantity, and then putting in your band room..... nasty!
in regards to your symphonic experiences, my first question would be what the piece was, and my second would be which orchestra was it?
anyway, that's just out of my own curiosity. as for tempos and conductors and all of that, as a general rule one can note the following: the choir will be slow, the brass will alternate (low brass behind, high brass ahead). violins and woodwinds will generally be right on time, and being closer to the front of the stage might sound early.
some things depend on the location of the instruments. for example, as a horn (french horn) player, i recognize that because our bells points backwards, away from the listener, we have to play a shade ahead of the beat to sound "in time"; this increases proportionally the further away from the conductor we get. if i'm in a hall i haven't played in much, i'm more likely to be "out of time" with the conductor apparent to the audience because i don't know how the acoustics of the room work. this is much the same with tuba players, whose sound goes straight up, rather than forward like trumpet or trombone.
so it's not unusual to find mixed instrumental and choral groups with a variety of tempos. it's incredibly difficult for that number of people to get the same idea of tempo, especially if they're in a new-to-them or sub-par acoustic environment.
sorry that your orchestra experience was mediocre, but there are some groups out there that can do it!
Thank you very much! As much as I was trying to sound as if I was directing the question towards anyone, I really was wondering what you would say about the matter. =)
The Sammamish Symphony Orchestra, as hot-linked from the picture I posted. And I would love to tell you the Christmas and Hanuka songs they played as soon as I locate the program, which I am sure I kept.
It's interesting how the acoustics effect the sound so much. I knew that it wasn't entirely the musicians' fault for I could apparently hear the sections very much together. But when I noticed the differing of the brass from the strings it really did get me wondering why it was happening exactly.
I did sound kind of pessimistic about the group only because I am now musically perceptive enough to notice little things. At the moment I was letting them bug me, when I should have just been noting things. It's all state of mind. With the right one, almost any musical performance is fulfilling in some way; even the 4th grade orchestra students playing twinkle twinkle little star pizzicato.
don't worry about it at all; it's good to be musically perceptive, and part of generating the mindset of the connoisseur (check out via Google or wikipedia the name "elliot eisner") is noticing what is good along with what is bad, or in your case what is jarring along with what is expected. there is no shame in that. often we are taught to be too reverent of music. we can enjoy it even if we don't think it was the best thing in the world.
anyway, awesome. happy 2009!
have a good year, may we share many joys with posts and the reading of them.
thanks so much!
Nice piece,
That is the unfortunate thing with plaing a brass instrument, spit, spit and more spit.
After playing a concert a few years back and sat next to a chap that was.....hmm to put it, a little on th large side of things - the 'pool' of spit was bigger than any other i had seen from another player of any Brass instrument.
It made me wonder if size is a player in how much 'spit' is produced!
The hamtron technical explanation was fascinating. I also wonder if the sections rehearsed separately until they became convinced they had the tempo "right". And then, they were unable to respond to a director whom they may have not have had much time with.
Re the spit: attach a sign to the bucket.
"Spit in the cuspadora, that's what it's for-a." (See Carmen.)
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