Date of Rehearsal: 02/12/15
Orchestra: CYO
Repertoire Rehearsed: Strauss Jr.
Yay, we finally got through the whole piece! This piece is a bit long and somehow complicated when all the waltzes are strung together.But each section is quite simple. Each waltz has two contrasting sections, and each sections are repeated twice before moving on, and once the second section is repeated, they go back to the beginning of the waltz to play each sections again, this time, just once through (A-A-B-B-A-B). And that's the formula for each waltz (except for the fourth one since we are ignoring the "dollar signs" for that one).
Now that we have went through every bit of the piece, I hope that you all have a better idea as to how the piece goes in general. I think it's very important to know what we are shooting for. In fact, I think it is rather impossible to accomplish anything, if we don't have an idea as to what it is that we are trying to do.
In the past, I have met and talked to many music teachers that don't believe in students listening to recordings. They believe that students should come up with or develop their own ideas as to how the music goes (by looking at the sheet music???). I vehemently, and violently disagree. For many many many many reasons. Just to mention a couple of those reasons, first of all, classical music, is deeply rooted in tradition, and a very particular culture. We all say "music is universal". that statement is misleading. Yes, "music" is universal, but a specific genre of music is not universal at all.
Who here listens to ancient Vietnamese music, or Indian ragas, or Japanese Gagaku, or Bulgarian instrumental folk music, or African ritual music on a regular basis, who here understands them perfectly, and can strongly relate to them? And IF you do understand and relate to those music, can you then, also relate to hiphop, country, and techno music? If you don't/can't relate to all of these these different styles, why would you assume that EVERYONE on Earth understands Western Classical music, which is one of the most eccentric, and complicated forms of all music.
Telling students to learn the music without letting them listen to how it is supposed to go, is like going up to a random child among a nomadic tribe in the middle of Mongolian plains, and expecting him/her to read and understand Latin, or Greek, or Victorian English.
Each style of music is based on it's own extra-music cultures and history. Each has it's own purpose, style, aesthetics, symbolisms, philosophy, and "language".
But since music is something designed for us to "listen" to, the easiest way to start understanding the music is by start listening to them. Not just once or twice, but as often as you possibly can. You must surround yourself in that sound, and that culture.
It is also very helpful to understand the background of the music, so I also strongly encourage you to read a little about it. For our purpose, we can start by reading a little but about Johann Strauss Jr. Even a little Googling can help you out tremendously.
Speaking of Mongolia, I just recently found this video. So interesting. This shows a style of music emerged out of different environment, needs, culture, aesthetics, and purpose from any music we are used to listening to (Although, this instrument is tuned similarly to the cello with D and A strings, and I think he is using a viola bow......)
https://www.youtube.com/watch?v=p_5yt5IX38I#t=51
Anyway,
Keep listening to the music!
https://www.youtube.com/watch?v=UJcoKNY_tes
Tuesday, February 17, 2015
Wednesday, February 11, 2015
identity crisis
Date of Rehearsal: 02/07/15
Orchestra: Chamber
Repertoire Rehearsed: King and Weber
So I am liking "the unison" as our name a lot! We can spell it "the UNIZON" to be cool.
But I was just thinking, the reason why something didn't quite agree with me when calling our group "Chamber" is because it is like calling an orchestra, "Orchestra". So I had only been looking at the word just as an adjective, and always felt so incomplete.
But I just realized, if I thought of the word "Chamber" as our actual name of the group, as my own name is Leo, I'm kind of ok with it :)
This thought was inspired by Anabelle's brilliant suggestion.
We are Chamber. I kind of like it, hahaha!
We should keep brain-storming for now though.
So we went over how to form harmonic "pads". This makes the song sound richer and more dynamic.
And started "arranging" the song. I really like our little "triangle" effect. I think it works quite well. An arco harmonic A and a pizzicato E.... Hmm, next time we should reverse it to see what that sounds like.
I was hoping to get the arrangement of "America" done this week, but it doesn't look like that is going to happen, so we will continue our work with Stand by Me and Phantom this week!
Orchestra: Chamber
Repertoire Rehearsed: King and Weber
So I am liking "the unison" as our name a lot! We can spell it "the UNIZON" to be cool.
But I was just thinking, the reason why something didn't quite agree with me when calling our group "Chamber" is because it is like calling an orchestra, "Orchestra". So I had only been looking at the word just as an adjective, and always felt so incomplete.
But I just realized, if I thought of the word "Chamber" as our actual name of the group, as my own name is Leo, I'm kind of ok with it :)
This thought was inspired by Anabelle's brilliant suggestion.
We are Chamber. I kind of like it, hahaha!
We should keep brain-storming for now though.
So we went over how to form harmonic "pads". This makes the song sound richer and more dynamic.
And started "arranging" the song. I really like our little "triangle" effect. I think it works quite well. An arco harmonic A and a pizzicato E.... Hmm, next time we should reverse it to see what that sounds like.
I was hoping to get the arrangement of "America" done this week, but it doesn't look like that is going to happen, so we will continue our work with Stand by Me and Phantom this week!
tough questions
Date of Rehearsal: 02/05/15
Orchestra: CYO
Repertoire rehearsed: waltz no. 1, 2 & 4 (Strauss)
Thank you all for a focused rehearsal that night. I do believe in having fun, but I also believe that making music with your friends is much more fun than doing many other things, and you only get to do it so many times a week. So here in our CYO rehearsals, I'd like us to really get into the music and forget about everything else.
To get into it, you must hear the music, and see the painting in the head. You must see the image. What is happening in the background? What is happening in the foreground? When and how often do the scenes change from one picture to another? Are the scenes similar, or different? Is there a story? and finally, what/where are you in these pictures? Are you a tree in the background, or are you one of the shiny teeth in someone's smile? What role must you take?
These are the questions we need to answer. Tough questions, but there are many of us. I believe we can find our answers if we stick together.
Orchestra: CYO
Repertoire rehearsed: waltz no. 1, 2 & 4 (Strauss)
Thank you all for a focused rehearsal that night. I do believe in having fun, but I also believe that making music with your friends is much more fun than doing many other things, and you only get to do it so many times a week. So here in our CYO rehearsals, I'd like us to really get into the music and forget about everything else.
To get into it, you must hear the music, and see the painting in the head. You must see the image. What is happening in the background? What is happening in the foreground? When and how often do the scenes change from one picture to another? Are the scenes similar, or different? Is there a story? and finally, what/where are you in these pictures? Are you a tree in the background, or are you one of the shiny teeth in someone's smile? What role must you take?
These are the questions we need to answer. Tough questions, but there are many of us. I believe we can find our answers if we stick together.
Tuesday, February 3, 2015
what is an orchestra?
Rehearsal date: 01/29/15
Orchestra: CYO
Repertoire rehearsed: Waltz No.1~3
I have always been a member of some kind of ensemble/orchestra ever since I was 8 years old. But it wasn't always great.
In college, I hated orchestra. In college, orchestra was there for the promotion of the schools, not the promotion of the well-being or the training or education for the students. In college, orchestra was required for all students who studied an orchestral instrument. In college, your private teachers, and all the classroom teachers thought their lessons/classes were more important than the orchestra. In college, we all "learned" that orchestra wasn't important, yet we all had to do it, three times a week at 9 in the morning. Often the very first thing we did in the day. In college, we had seating auditions, and if we did poorly, we were ashamed, and people looked down on people sitting in the back. In college, orchestra was more about the status than the music. But didn't someone say orchestra wasn't important? In college, we were getting mixed message. In college, we were all confused. In college, we learned absolutely nothing in orchestra. In college, I despised being in the orchestra, because I loved orchestra in general, at least how I remembered it to be.
After I graduated from school and started playing in ensembles and orchestras around the city, I learned that there were nice orchestras, and not so nice orchestras (whereas, before college, it was always always great). And the difference between a nice orchestra and a not-so-nice orchestra seemed to me, depended on the leaders, and the other players - do they really know what orchestra is about, or did they only have the kind of experience I had in college?
I would suspect that if you don't "get" it, it must be super boring to play in an orchestra. And your attitude shows, and that's what creates bad experience for the others.
So here are some tips for you (in order to help you understand what orchestra is really about).
The most important thing about being in the orchestra, is that you must treat it like a group project, or like a sport team.
As a unit, we have a common goal.
You practice your part, not for yourself, but for others in the group. If each of you sound incredible, the orchestra would inevitably sound better. That's why you practice your part. Like being very good at your position in a sport team. If you are a good goalie, the other team won't be able to score as much, and your team would likely win more often. That's why goalies practice getting better at defending their goals.
Each individual part therefore is very important, and they are important that they are played well, BUT (!) all of that would mean nothing, if we can't work as a team. It doesn't matter how good your goalie is, if your defenders lack coordination and strategy, and won't listen to the goalies direction, your goalie can't help you, esp. against the coordinated attacks of the other team.
The most important part that determines how good the orchestra is, is how well we rehearse. You can have all the best players in the county, but if they are not paying attention during rehearsals, you can also have the best conductor in the world but still be the worst orchestra in the county.
If we can't work as a team, if there are people who just don't get why we are there to rehearse, then we don't have much hope.
It is more difficult to be in an orchestra than being in a sport team, because our goal is less clear. What exactly is our goal? We don't have any other teams to beat, nor are there any scores or points that we can gain. But that is precisely why I love orchestra, and why I think it is extremely important for our growth.
Orchestra is non competitive. It is supposed to be anyway. Orchestra is cooperative. We look at the pieces as a challenge. The challenge is to try to figure out what those black dots and lines actually mean. We are, as a team, to decode the secret messages hiding behind those symbols, and make it come alive. We give birth to ideas and statements. Each piece is a challenge, a puzzle. We work together to solve these problems. Orchestra has never been just about playing the right notes at the right time. NEVER. It has always been about ideas, statements and stories, and messages, and will always be so. To tell these stories, to deliver these messages, to understand, and share. That is our goal.
So we need team players, who would work hard for the team. We need players that are proud of the group that they are in and respect their fellow members. We need players that take each rehearsals seriously, and players that want to solve these problems together with other players in the group.
Orchestra is not for your personal status. It will not help you in that regard. Orchestra is unkind to selfish and shallow people. And if you are selfish and shallow and are there for the wrong reason, you disturb others that are not, and ruin the group. So try to be educated about what you are doing. Try to understand what your roles are in the context of this particular group.
Orchestra will only help those that help the orchestra. You would gain only if you participate. And it is fair, for the more you put into it, the more you will gain. That is another reason why I love the orchestra.
So let's be a team player, and make ourselves proud by improving the group, shall we?
Orchestra: CYO
Repertoire rehearsed: Waltz No.1~3
I have always been a member of some kind of ensemble/orchestra ever since I was 8 years old. But it wasn't always great.
In college, I hated orchestra. In college, orchestra was there for the promotion of the schools, not the promotion of the well-being or the training or education for the students. In college, orchestra was required for all students who studied an orchestral instrument. In college, your private teachers, and all the classroom teachers thought their lessons/classes were more important than the orchestra. In college, we all "learned" that orchestra wasn't important, yet we all had to do it, three times a week at 9 in the morning. Often the very first thing we did in the day. In college, we had seating auditions, and if we did poorly, we were ashamed, and people looked down on people sitting in the back. In college, orchestra was more about the status than the music. But didn't someone say orchestra wasn't important? In college, we were getting mixed message. In college, we were all confused. In college, we learned absolutely nothing in orchestra. In college, I despised being in the orchestra, because I loved orchestra in general, at least how I remembered it to be.
After I graduated from school and started playing in ensembles and orchestras around the city, I learned that there were nice orchestras, and not so nice orchestras (whereas, before college, it was always always great). And the difference between a nice orchestra and a not-so-nice orchestra seemed to me, depended on the leaders, and the other players - do they really know what orchestra is about, or did they only have the kind of experience I had in college?
I would suspect that if you don't "get" it, it must be super boring to play in an orchestra. And your attitude shows, and that's what creates bad experience for the others.
So here are some tips for you (in order to help you understand what orchestra is really about).
The most important thing about being in the orchestra, is that you must treat it like a group project, or like a sport team.
As a unit, we have a common goal.
You practice your part, not for yourself, but for others in the group. If each of you sound incredible, the orchestra would inevitably sound better. That's why you practice your part. Like being very good at your position in a sport team. If you are a good goalie, the other team won't be able to score as much, and your team would likely win more often. That's why goalies practice getting better at defending their goals.
Each individual part therefore is very important, and they are important that they are played well, BUT (!) all of that would mean nothing, if we can't work as a team. It doesn't matter how good your goalie is, if your defenders lack coordination and strategy, and won't listen to the goalies direction, your goalie can't help you, esp. against the coordinated attacks of the other team.
The most important part that determines how good the orchestra is, is how well we rehearse. You can have all the best players in the county, but if they are not paying attention during rehearsals, you can also have the best conductor in the world but still be the worst orchestra in the county.
If we can't work as a team, if there are people who just don't get why we are there to rehearse, then we don't have much hope.
It is more difficult to be in an orchestra than being in a sport team, because our goal is less clear. What exactly is our goal? We don't have any other teams to beat, nor are there any scores or points that we can gain. But that is precisely why I love orchestra, and why I think it is extremely important for our growth.
Orchestra is non competitive. It is supposed to be anyway. Orchestra is cooperative. We look at the pieces as a challenge. The challenge is to try to figure out what those black dots and lines actually mean. We are, as a team, to decode the secret messages hiding behind those symbols, and make it come alive. We give birth to ideas and statements. Each piece is a challenge, a puzzle. We work together to solve these problems. Orchestra has never been just about playing the right notes at the right time. NEVER. It has always been about ideas, statements and stories, and messages, and will always be so. To tell these stories, to deliver these messages, to understand, and share. That is our goal.
So we need team players, who would work hard for the team. We need players that are proud of the group that they are in and respect their fellow members. We need players that take each rehearsals seriously, and players that want to solve these problems together with other players in the group.
Orchestra is not for your personal status. It will not help you in that regard. Orchestra is unkind to selfish and shallow people. And if you are selfish and shallow and are there for the wrong reason, you disturb others that are not, and ruin the group. So try to be educated about what you are doing. Try to understand what your roles are in the context of this particular group.
Orchestra will only help those that help the orchestra. You would gain only if you participate. And it is fair, for the more you put into it, the more you will gain. That is another reason why I love the orchestra.
So let's be a team player, and make ourselves proud by improving the group, shall we?
Wednesday, January 28, 2015
the waltz
Rehearsal date: 01/22/15
Orchestra: CYO
Repertoire rehearsed: Blue Danube
Sorry for the late post. I had a performance on Saturday and an opera rehearsal on Sunday so my weekend didn't happen.]
Anyway, this new piece is one of the classics of the Classical music. And rightfully so, with it's super memorable, and delightful melodies. All of those waltzes have just the right amount of charm, and the perfect amount of drama. It is not all about blank smiles, but with just enough amount of realism and passion, those light, and pleasant melodies become so much more sincere. And the more sincere they are, the more beautiful to our ears.
I always feel that Johann Strauss Jr. is such an underrated composer. Yes, his music is not "serious" like Brahms or Tchaikovsky or others during the same time period, but he was decidedly a composer of waltz, which was a dance music for the rich people (how serious can dance music be before our feet stops stepping and our brains start turning?). And he was AMAZING, and ground breaking with what he did in that genre. He gave waltz as mush care and polish, and possessed just as much craftsmanship as any of the other "serious" composers brought to their symphonies and chamber music, and overtures. It is just so unfortunate that just because of the genre he has chosen to write in, he and his compositional skill is also taken lightly. In my book, he is just as creative and skilled as any of the legendary figures of the time, and that was the Golden Age of classical music in my opinion (19th century).
By the way, just so there is no confusion, Johann Strauss Jr. was NOT the son of Richard Strauss. I hear people being confused with them all the time. Richard Strauss was a composer of early to mid 20th century, and Johann Strauss Jr. was from mid to late 19th century. So there's about a hundred years in between them, and the Jr. is the more senior :)
Orchestra: CYO
Repertoire rehearsed: Blue Danube
Sorry for the late post. I had a performance on Saturday and an opera rehearsal on Sunday so my weekend didn't happen.]
Anyway, this new piece is one of the classics of the Classical music. And rightfully so, with it's super memorable, and delightful melodies. All of those waltzes have just the right amount of charm, and the perfect amount of drama. It is not all about blank smiles, but with just enough amount of realism and passion, those light, and pleasant melodies become so much more sincere. And the more sincere they are, the more beautiful to our ears.
I always feel that Johann Strauss Jr. is such an underrated composer. Yes, his music is not "serious" like Brahms or Tchaikovsky or others during the same time period, but he was decidedly a composer of waltz, which was a dance music for the rich people (how serious can dance music be before our feet stops stepping and our brains start turning?). And he was AMAZING, and ground breaking with what he did in that genre. He gave waltz as mush care and polish, and possessed just as much craftsmanship as any of the other "serious" composers brought to their symphonies and chamber music, and overtures. It is just so unfortunate that just because of the genre he has chosen to write in, he and his compositional skill is also taken lightly. In my book, he is just as creative and skilled as any of the legendary figures of the time, and that was the Golden Age of classical music in my opinion (19th century).
By the way, just so there is no confusion, Johann Strauss Jr. was NOT the son of Richard Strauss. I hear people being confused with them all the time. Richard Strauss was a composer of early to mid 20th century, and Johann Strauss Jr. was from mid to late 19th century. So there's about a hundred years in between them, and the Jr. is the more senior :)
Tuesday, January 20, 2015
Stand By Me
Rehearsal Date: 01/17/15
Orchestra: chamber
Repertoire Rehearsed: well...
So here's what happened.
I like to give myself plenty of time to get to Penn Station to take the train to get to Middletown. For the 12 o'clock train that I have to take, I leave at 10:30am, so I can have a nice relaxed breakfast. I need this because Penn Station is a mess. a chaos, a commuting nightmare, and every second I am there, I get progressively irritated. So I need a nice moment before I plunge into that madness.
I get to Penn Station and got on the train as usual. I scored a good seat and was happy with it. Sfetr Newark Airport, the train stops and the announcement says that there is an Amtrak train that broke down in front of us and that we cannot pass it. So we were stuck there for a while. maybe fifteen, twenty minutes? And because I was on the NJ Transit line, the train crew seemed to be proud that it wasn't one of their trains that got broken down, and there was a bit of arrogance in the air, which I was kind of amused by.
But I definitely was not amused when the train I was on also broke down. That happened just as we got to Aberdeen Matawan. We ended up having have to wait for the next train right there in the cold.
I was wishing I had spent half an hour more in my cozy breakfast place instead of out there in the cold if I was going to be late anyway...
So that's why I was late that day.
Thank you Matt, for instructing them the chord progression. Stand by Me is a great song, and one of the best films ever. You all must watch it!
here's the trailer for the film:
https://www.youtube.com/watch?v=gope8wlp2bQ
Maybe we can watch it together one day?
And thank all so much for listening to me playing my new piece. I really needed to do that, and thanks to you, I now know exactly where and what I need to work on both in my composition and in my playing. It is very clear to me now thanks to you!
Again, no rehearsal next week, so I will see you all on the 31st!
Orchestra: chamber
Repertoire Rehearsed: well...
So here's what happened.
I like to give myself plenty of time to get to Penn Station to take the train to get to Middletown. For the 12 o'clock train that I have to take, I leave at 10:30am, so I can have a nice relaxed breakfast. I need this because Penn Station is a mess. a chaos, a commuting nightmare, and every second I am there, I get progressively irritated. So I need a nice moment before I plunge into that madness.
I get to Penn Station and got on the train as usual. I scored a good seat and was happy with it. Sfetr Newark Airport, the train stops and the announcement says that there is an Amtrak train that broke down in front of us and that we cannot pass it. So we were stuck there for a while. maybe fifteen, twenty minutes? And because I was on the NJ Transit line, the train crew seemed to be proud that it wasn't one of their trains that got broken down, and there was a bit of arrogance in the air, which I was kind of amused by.
But I definitely was not amused when the train I was on also broke down. That happened just as we got to Aberdeen Matawan. We ended up having have to wait for the next train right there in the cold.
I was wishing I had spent half an hour more in my cozy breakfast place instead of out there in the cold if I was going to be late anyway...
So that's why I was late that day.
Thank you Matt, for instructing them the chord progression. Stand by Me is a great song, and one of the best films ever. You all must watch it!
here's the trailer for the film:
https://www.youtube.com/watch?v=gope8wlp2bQ
Maybe we can watch it together one day?
And thank all so much for listening to me playing my new piece. I really needed to do that, and thanks to you, I now know exactly where and what I need to work on both in my composition and in my playing. It is very clear to me now thanks to you!
Again, no rehearsal next week, so I will see you all on the 31st!
back to basics
Rehearsal Date: 01/15/15
Orchestra: CYO
Repertoire Rehearsed: Blue Tango
It's really nice to see that our little family is growing and growing! We had two new students last week, and four more this week, and I think there will be at least two more new people coming next week!
When the orchestra grows bigger in size, somehow, it is encouraging. More people interesting in joining what we are doing can only mean one thing: we are doing something right! Not sure what it is, but whatever it is, let's just keep doing it :)
As we get new players, however, we have to constantly remind ourselves of where each of started from. No one knew each other, and we weren't used to playing together, and maybe also because we have come off of a pretty nice and long break, I feel that we've forgotten what it was like.
I feel as though we have forgotten the kind of attitude, and rehearsal ethics that were needed to have a good ensemble.
Here are some reminders:
Number 1: BRING YOUR MUSIC STANDS
We should start with the basics. No stands, no music. Simple as that. We often forget how we as musicians are so extremely reliant on music stands. To note, I bring the rack of MAC's stands in the room IN CASE someone forgets it. These days it seems everyone is "forgetting" it. Forgetting on purpose does not constitute as forgetting, so I will stop allowing you from taking the MAC stands if you just didn't bring yours because you didn't feel like it.
Number 2: Stop chatting during rehearsal
Need I explain?
Number 3: No playing while I'm talking.
This is perhaps ten times more distracting than chatting. What's worse is that, those who are guilty of this, are usually the same people that are guilty for not playing when they are supposed to play!
Number 4: My hands down, your instruments down. My hands up, your instruments up.
When I'm ready, you should be as well. If you can't do this, that means you are not focused and are zoning out during rehearsal. If you are zoning out, you are not participating, which means you are not helping anybody, nor your group, or yourself for that matter. And if you continue not being ready, it continues to frustrate approximately one member in that room pretty badly. This is also to prevent Number 3 from happening.
Number 5: Listen to other parts while playing.
Finally something musical. You are playing in the orchestra, not practicing solo by yourself in a lonely room. The beauty of orchestra is the coming together of all these different sounds. Take advantage of the fact that you get to experience this unique and magical moments every week. Listen, appreciate, enjoy, and maybe learn something from them. And don't forget that you are also contributing to these magical moments. Really listen, really appreciate.
Number 6: Take care of the place in which you practice.
Last week, I was embarrassed to see four chairs still standing where the cellos sat after you guys had left. Now cellists, you need the chair more than anybody in the orchestra does. I would think that you out of everyone would be the first to take care of your chairs!
Many serious stuff, like in religion and in martial arts (where you train your mind and body for betterment at the expense of your and others' tremendous physical pain), you take care of the room, the building, the environment in which whatever activity takes place before and after the activities. This means, readying the room beforehand in such a way that you can really concentrate on the work without being distracted, and cleaning up afterwards, to show respect - first to yourself by acknowledging what is become of the environment while you worked so hard, and to turn it back to the state it was in before you arrived, to show your respect and appreciation to the people around you, people that let you use the facility, and to yourself. By cleaning up your own mess, it says that you respect yourself. You don't let your own environment deteriorate. You clean up your own mess, so you can be a better person. So FOLD YOUR CHAIRS UP and PLACE THEM ON THE RACK before you leave, after each rehearsal.
Thank you
Orchestra: CYO
Repertoire Rehearsed: Blue Tango
It's really nice to see that our little family is growing and growing! We had two new students last week, and four more this week, and I think there will be at least two more new people coming next week!
When the orchestra grows bigger in size, somehow, it is encouraging. More people interesting in joining what we are doing can only mean one thing: we are doing something right! Not sure what it is, but whatever it is, let's just keep doing it :)
As we get new players, however, we have to constantly remind ourselves of where each of started from. No one knew each other, and we weren't used to playing together, and maybe also because we have come off of a pretty nice and long break, I feel that we've forgotten what it was like.
I feel as though we have forgotten the kind of attitude, and rehearsal ethics that were needed to have a good ensemble.
Here are some reminders:
Number 1: BRING YOUR MUSIC STANDS
We should start with the basics. No stands, no music. Simple as that. We often forget how we as musicians are so extremely reliant on music stands. To note, I bring the rack of MAC's stands in the room IN CASE someone forgets it. These days it seems everyone is "forgetting" it. Forgetting on purpose does not constitute as forgetting, so I will stop allowing you from taking the MAC stands if you just didn't bring yours because you didn't feel like it.
Number 2: Stop chatting during rehearsal
Need I explain?
Number 3: No playing while I'm talking.
This is perhaps ten times more distracting than chatting. What's worse is that, those who are guilty of this, are usually the same people that are guilty for not playing when they are supposed to play!
Number 4: My hands down, your instruments down. My hands up, your instruments up.
When I'm ready, you should be as well. If you can't do this, that means you are not focused and are zoning out during rehearsal. If you are zoning out, you are not participating, which means you are not helping anybody, nor your group, or yourself for that matter. And if you continue not being ready, it continues to frustrate approximately one member in that room pretty badly. This is also to prevent Number 3 from happening.
Number 5: Listen to other parts while playing.
Finally something musical. You are playing in the orchestra, not practicing solo by yourself in a lonely room. The beauty of orchestra is the coming together of all these different sounds. Take advantage of the fact that you get to experience this unique and magical moments every week. Listen, appreciate, enjoy, and maybe learn something from them. And don't forget that you are also contributing to these magical moments. Really listen, really appreciate.
Number 6: Take care of the place in which you practice.
Last week, I was embarrassed to see four chairs still standing where the cellos sat after you guys had left. Now cellists, you need the chair more than anybody in the orchestra does. I would think that you out of everyone would be the first to take care of your chairs!
Many serious stuff, like in religion and in martial arts (where you train your mind and body for betterment at the expense of your and others' tremendous physical pain), you take care of the room, the building, the environment in which whatever activity takes place before and after the activities. This means, readying the room beforehand in such a way that you can really concentrate on the work without being distracted, and cleaning up afterwards, to show respect - first to yourself by acknowledging what is become of the environment while you worked so hard, and to turn it back to the state it was in before you arrived, to show your respect and appreciation to the people around you, people that let you use the facility, and to yourself. By cleaning up your own mess, it says that you respect yourself. You don't let your own environment deteriorate. You clean up your own mess, so you can be a better person. So FOLD YOUR CHAIRS UP and PLACE THEM ON THE RACK before you leave, after each rehearsal.
Thank you
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