Jazz for aficionados

Hello again Rok - yes, the principals of each section in the orchestra are the section leaders. They have the final say on how the section blends together, how it balances, how it articulates together, and the overall sound of the section, sometimes dictating what types of equipment will be used (some horn sections or trumpet sections or trombone sections will all play the exact same make and model of instrument). The rest of the section also always tunes to the principal as well. As a section horn player myself, my principal is my most immediate "boss," though this term is only used in jest. It is my job as a section player to follow the principal's lead. String principals do have more work to do - they have to do all of the bowing markings, making sure that everyone is bowing everything the same way. The concertmaster always does this first, then passes the bowings along to the other string principals, who make sure they work for them (meaning say the principal cellist might slightly change something because it doesn't work as well on cello as it does on violin, etc.), and then the librarians put them into all the other string players parts. The section leaders will sometimes make part assignments as well - for instance, say every piece on a particular concert only requires two horns, but there are say four players in the section - usually this program would be split among all four players, two of them playing some of them, two others the rest of them, and the principal would decide who played what, usually subject to music director approval, though most of them wouldn't mess around with it too much. Hope this gives you some idea....

Terrific explanations from Learsfool; thanks.

****Once he comes out of his latest 'Pouting' episode****

Rok2id, pay close attention now. I realize that understanding things that go beyond surface level are not always your forte; and, I do feel flattered that my three day absence from this thread causes you concern. But, really, was that comment necessary? I hope that you are able to see that in order to avoid (if that is what you want) the silly bickering that you often bring to the table, that it is this kind of passive aggression that puts things on the wrong track. All together now..... ha ha ha ha.

O-10, will check back with some comments re your postings.

Robsker, thanks for the heads up. Randy Sandke is a terrific traditional jazz player out of the Bix Beiderbeck tradition. I second the recommendation.

Cheers all.

Learsfool:

Excellent Posts. Very educational. After all this, I think I will play my Paganini CDs today. I only the '24 Caprices'. One CD by Fischer, and one by Midori. I appreciate the time you took to respond in such detail. I am beginning to have a much better understanding of the workings of an orchestra. I assume you realize, that you and The Frogman have the best jobs in the world.

I don't know why I was so determined to get to the bottom of the 'cuts' thingy, after all, I always get the 'highlights' versions of Operas. But I did learn something.

If you ever have the time you might go a little more in depth concerning the 'bowing' of the string parts. The Frogman mentioned this some time ago, but did not get into it. If it's somethinmg that can be explained to a non-musician.

Thanks.

Cheers

I found this last night while looking for Christmas DVDs. Turns out, it's by the LSO. I wonder if the Trumpet player is the one I read about in the Obit.

Colin Davis' comments in the interview after the concert, concerning women in the orchestra, were very interesting. The exact same thing can be said of Women in the U.S. Military. They made/make it, a much better place.

http://www.youtube.com/watch?v=ZuGSOkYWfDQ

Cheers

Hi Rok - the bowing question is very simple. I'm sure you have noticed that each section of the string family is always moving their bows together, in the same way. It is the markings that tell them what to do when that we call "the bowings." There is a symbol for a downbow, and a symbol for an upbow, and some other very standard markings for different types of bowstrokes. Sometimes the composers will call for a passage to be bowed a certain way. Basically, a downbow is stronger, meaning it has more weight than an upbow. Bowings are chosen for both musical and technical reasons, and often much time in rehearsal is spent in discussing possible changes of them, while us wind players twiddle our thumbs.... :) Seriously, a conductor will often request a change in the bowings for some musical reason, or if he/she is not that familiar with bowings (in other words, they didn't/don't play a string instrument), they will ask the concertmaster if a change would help create the effect they want in a certain passage, etc.

It is the job of the concertmaster to do the bowings for any piece the orchestra is going to play, and as I said before, these are then passed on to the other string principals, who may make minor changes for their own sections. The librarians then are the ones who actually mark the bowings in all the other string player's parts. All of this is done far in advance of the first rehearsal of the program, so the music is ready for the players personal use in preparing for the program. Each orchestra's CBA will mandate how far in advance the music has to be ready and available - in most it is two or three weeks ahead of time. String parts take much longer to prepare than wind parts, precisely because of the bowings.