View from the Back of the Rehearsal Room

By Amanda Burton Winger

As a horn player sitting in the back of the orchestra and as a workshop coordinator for Conductors Guild Conductor Training Workshops, I find myself going through a checklist when a new conductor gets on the podium. Although I personally prefer to never have to put even a toe on a podium, I’d like to share with you some thoughts and impressions about those important things that often are neglected by conductors of all levels, ages and experience as seen from the back of the rehearsal room. You have probably heard them all before but I encourage you to take a step back, really look at yourself and see if any of these habits have crept back into your life on the podium.

First impressions really are everything! When you step up on that podium, exude confidence and embody a feeling of “Hey, let’s make music together!” Within those first few seconds, the orchestra (and onlookers) will decide whether or not we will look at you and even respect you. It literally only takes a couple of seconds.

Conducting is about human interaction. Look at us…often! Maybe it’s nerves, maybe it’s a lack of preparation – whatever it is, get over it and look at your musicians. I cannot count the times I’ve seen a conductor give the preparatory beat and immediately look down at the score. Know the music well enough not to have to look at the music for every other measure. If you don’t look at us, we’ll just figure that you’re listening to that recording in your head and not interacting with us so what’s the point in following you?

We’re not really convinced we need you. I know this is hard to hear but there are many ways a conductor can be more of a hindrance than a help. The best conducting teachers I’ve witnessed drill home the idea that less really is more. When you reign yourself in, you exhibit trust into your musicians and the reward is great. Constantly think – am I adding or taking away from the music right now? Try some new things – like not conducting a beat pattern, starting the group off and letting them play by themselves for a while. When you do figure out how you can help and not hinder, your musicians will understand the great value of having a conductor who has a plan and is not afraid to allow them to make some music.

If you look funny in all of your photos or on your video, you look funny on the podium! I often take photographs of our workshop participants and I find these to be so telling. I would say 8 out of 10 conductors I see have distracting mannerisms and quirks. Sure, this makes you unique but it also makes the low brass players make fun of you or the orchestra start calling you “The Claw.” These are the hardest habits to break, but you need to first be aware of them. Find an honest friend or two and get them to look at your face and mannerisms or, if you’re honest with yourself, review a video of yourself. Ask musicians that you trust – “Hey, do I have any weird quirks I should know about?” They’re probably dying to tell you about them. Don’t get defensive – just take it in stride and become more aware and mindful of your body. Periodically videotape yourself and keep yourself in check.

Speak up! I know it is Conducting 101 but for some reason a very common habit is for conductors to not speak loudly on the podium. This wastes time as you have to give instructions several times and it also increases behavior problems as well as a lack of focus. When we have to tap the person in front of us to ask where we are, focus is broken and confidence in your ability decreased. If you must, focus on the back row and make yourself be heard. The front row will tell you if you’re too loud.

If you must stop, please have a reason. If the reason is that you messed up, own up to it. You might think you’re being sly coming up with another excuse for stopping but we all saw you drop that beat and we aren’t buying it. Honesty and humility go a very long way with an ensemble. It really is OK to make mistakes and your musicians will respect you even more when you own up to them.

Could it be you? Before dishing out criticism, first ask yourself if you did everything in your power to help the situation. Often the missed entrances or that lack of clarity you are seeking really are your problems. If you think about what you are doing, as well as what the orchestra is doing, your rehearsals will become much more efficient and your group will be much tighter. I’ve seen so many conductors ask for certain things (a clear attack, phrasing, accelerando, etc.) when they truly were not showing the musicians their idea in a clear way. This is good advice even in life beyond the podium – do all you can to improve yourself first – then ask for others to change.

Looks of disgust or agony really aren’t welcome on the podium. This might seem like a strange request but when it looks like we’re torturing you, we really aren’t motivated to play better for you. I understand when something doesn’t sound great that your gut reaction might be to shrivel up into the fetal position, but please refrain from showing that on the podium. The tension will travel through your ensemble and in no time, everyone will be miserable.

This is a small, small word. Make friends, never enemies. I do not think I have ever been to a workshop and not overhead the conversation of two people figuring out how their worlds just collided. You will forever be running into people you’ve met before. Do whatever you can to stay in good graces with everyone that comes across your path. Conducting can be an isolating profession. Utilize the network of the Conductors Guild and the colleagues you meet at workshops and conferences and cherish those relationships. You never know when you need that lost oboe part faxed over for your performance happening in 20 minutes or when you need a recommendation letter or find yourself facing an old student on a job search committee. Be on good behavior, keep the peace, and treasure friendships.

Have fun! Conducting and making music is hard work but keep that pleasure center of your brain activated. Larry Rachleff during a talk at a recent workshop stressed the fact that the reward is the work. Enjoy what you do and do it to the best of your ability. Be better today than you were yesterday. Sure, you can keep your eye on the prize but don’t forget that taking steps to get there is part of your journey.  Find ways to make learning, rehearsing, planning, studying, conducting fun and enjoyable for yourself and your musicians.

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Amanda Burton Winger is the Executive Director of the Conductors Guild and a freelance hornist in the Richmond, Virginia area.