Orchestral Etiquette
By David Weiss (with extra comments inserted by Dawn Weiss)

Building your reputation in the field of music involves a lot more than how well you play your instrument. The transition from practice room to professional can be more successfully achieved by understanding some simple but frequently overlooked ideas of "Orchestral Etiquette." Using good discretion and common sense will go a long way to make you the kind of musician that personnel managers are always hoping to find.

• Be on time! Traffic or parking problems are NEVER an acceptable excuse, especially in L.A. where we suffer through this on a regular basis and know how bad the traffic can be. Allow PLENTY of time. Arrive early, have extra time to practice your parts, or bring a book, or some homework to do until the rehearsal begins. PERSONNEL MANAGERS always like the early bird, and are paying attention. Show up physically and mentally prepared. It helps a lot to be a good sight-reader. Remember that performing is a visual as well as auditory experience for the audience. Most successful musicians make it "look easy" - that your music pours out of you naturally, without excessive effort. You should look like you're enjoying what you're doing.
  
  
• Communicate with our orchestra manager if you have any problems. Return phone messages promptly. Cell phones are very useful - but be sure to turn yours off during rehearsals/concerts!
  
  
• When the conductor or coach or teacher tells you to do something, be sure to do it! Do not be disrespectful or create any embarrassment, even if you disagree with the request, or if it shows incomplete knowledge of your instrument. See the director later if at all possible. Be a good colleague. You NEVER KNOW who among you will become very influential in the music business years from now. Your professional networking has already started. A good impression can be a life-long asset. A bad impression can haunt you for years to come. Be discreet when discussing intonation issues with a colleague. Don't brown-nose the conductor or anyone else with power or influence. It's one thing to be interested and respectful, but your colleagues will hate you for blatantly kissing up to your superiors.
  
  
• Try to keep your personal life away from the orchestra. Be careful about "falling in love" with a colleague. After the relationship ends you may still have to work with that person for a long time!
  
  
• Out of respect for others, go very easy on the perfume or cologne. Especially around singers and wind players.
  
  
• Avoid "nervous knee" wiggling, foot tapping, excessive body movements, and choose your moments carefully when doing maintenance on your instrument like swabbing or blowing out water from a key, so as not to distract others.
  
  
• Avoid crossing your legs, yawning, or any appearances of boredom or lack of attention (magazines on your stand). When the conductor is dealing with another section of the orchestra, you can usually learn something by paying attention to what other sections are doing. The same phrase may show up in your part two minutes later. Conductors hate having to repeat themselves, and it wastes a lot of time. You are a "representative" of the group - donors, board members might be present. Also, good to have knowledge about your organization - when people ask you questions, etc. Be willing to attend social events with donors, etc.
  
  
• Put your equipment under your own chair and try not to sprawl out. Don't leave your instrument in a precarious position, especially during intermissions when people are walking around.
  
  
• Prepare your own part so that you are not dragging everyone else down. Music is always available in advance. Contact our librarian. It is a good idea to get recordings of the repertoire. Attend live concerts.
  
  
• Prepare for emergencies (swab, handkerchief, cigarette paper, pencil), and be sure your instrument is kept in good working order.
  
  
• Be gentle with your music. Avoid bending, folding, tearing, jamming into folders, and make sure it gets to the rehearsal or concert on time, even if you have a problem and can't be there yourself. Write gently in your music, using a black #1 or #2 pencil. Try not to write too much! (Conductors and colleagues get distracted with a lot of fidgeting). The librarian has to erase all markings if it is a rental part. Avoid writing funny comments or jokes, no matter how tempting.
  
  
• Commending your colleagues: If someone does a really nice job, you can tap your hand on your knee or lightly shuffle your foot as a subtle compliment - just don't overdo it. People are still trying to concentrate and shouldn't be distracted. Also, it tends to appear amateurish to the audience. Don't stare at your neighbor's part or be fingering something in the middle of his or her solo. Watch your body language!
  
  
• Don't whisper, roll your eyes or make faces as commentary about the conductor. They see everything! Sit up straight and stay alert and attentive. Yawns and sitting with legs crossed show disrespect. Bow toward the audience and avoid a lot of joking around or commentary to your stand partner or neighbor.
  
  
• When on tour, never talk in your room about any of your colleagues. The walls are often thin and you would be surprised at what people hear you say. At auditions, be tactful and show appreciation to anyone involved in organizing the audition. Chances are they are members of the orchestra and/or management. Don't comment on other auditionees or the orchestra performance from the night before.
  
  
• Do not warm up on somebody else's solos!
  
  
• If you have questions of the conductor and are not the principal of the section, direct your questions to the principal.
  
  
• NEVER cross a Musicians Union picket line. This holds for when you might have a ticket to a performance that is being picketed, or most importantly if you are ever asked to substitute for a union musician who is out on strike. The ramifications of being a "scab" can be devastating. Young musicians owe a huge debt of gratitude to those who fought for decent wages and working conditions. A general knowledge of the musician's union movement over the past 50 years should be required for anyone contemplating a career in music.
  
  
• Tuning: Be a good colleague and TAKE THE A. If you're onstage early, be sure you are tuning to the proper pitch. Your pitch while warming up will influence all who follow you on stage. The principal oboist might give a "perfect" A at the beginning of the concert, but if everyone has been tuning incorrectly (usually too sharp) while warming up, chaos can result. String players especially need to understand the constraints of woodwind tuning. Most woodwind instruments are designed to play between A-440 and A-442. It is practically impossible for certain instruments to play in tune with themselves if the A is much below 440 or above 442. For example, an oboe or clarinet or bassoon player may be able to find or make a reed to play A-446, but then the rest of the notes in the scale don't line up, and the results sound awful.