oboeinsight

There is so much to know … so many things I realize that young musicians don’t know. So I’ve decided to begin a list. I will continue to add to it as I go along. (I will also take comments and add them here.)

Rehearsal Etiquette

• Do what a friend of mine calls your “idiot check” before you go to rehearsal; do you have reeds? Oboe? Music? Swab? Don’t be embarrassed by forgetting something silly!
• Come prepared; study your music.
• Arrive on time. Late is never okay.
• If the principal player spaces out and doesn’t come in on a solo during rehearsal, don’t go jumping in (unless you both have an agreement that that’s okay to do).
• If reed making is disruptive don’t do it! You can usually watch for the conductor’s reaction … some approve of reed making, some don’t.
• “Know” your conductor if possible (I don’t mean personally!) … some hate it if you read when you aren’t playing, even if it’s “only” a rehearsal. If that’s the case either stop reading or be so discreet no one knows anyway. If reading causes a late entrance on your part stop reading. Period.
• The conductor is the boss. If she or he asks you to play something up an octave, do it. If you are told to change a note, do it. You have to do what the conductor says … musically speaking! If the conductor asks you to go out on a date … think twice (and three times). While I’m sort of joking about that, do be careful; some conductors take advantage of their powerful positions. Not all, certainly, but some do. Be wise.
• No scents. Ever.

Performance Etiquette

• Do the “idiot check”. Twice.
• Arrive in plenty of time. If you are late because you hit traffic or couldn’t find parking it’s no one’s fault but your own. NEVER BE LATE.
• Don’t wear anything that causes you to stand out more than anyone else on stage.
• No scents. Ever.
• When the concertmaster walks out to tune the orchestra, stop playing. And don’t talk.
• When the conductor walks out for the first time, the orchestra should stand. Normally the concertmaster and/or the cellist are in charge of starting this. The job really belongs to the concertmaster, but since a conductor often walks out from stage right the concertmaster often takes his or her signal from the principal cellist. The orchestra remains standing until the conductor seats them. After that first entrance, it is up to to the conductor to have the orchestra rise or not. In other words; with the first entrance of the concert, the orchestra shows respect by standing. After that the conductor may or may not acknowledge the orchestra and have them stand.
• Don’t make reeds during performances unless there is a dire emergency. (Because you are all good musicians who come prepared there will never be a dire emergency!)
• Don’t talk during performances.
• If you are in the pit and you have a long tacet, reading is usually okay. However if you miss an entrance stop reading. Forever. Seeing (and not hearing!) a musician miss an entrance due to reading is inexcusable.
• “Talk” includes counting measures of rest out loud. Don’t do it! I also recommend you don’t silently mouth the measures. I’ve seen folks do this and it really looks odd.
• Don’t tap your foot. A toe is fine. A foot is noisy and can also be distracting.
• Don’t grimace or shake yoor head or react in any other way when you make a mistake!
• Swab quietly and try not to draw attention to what you are doing.
• Don’t pack up your instrument(s) until the orchestra has finished playing. If you are done with an instrument after a particular work, you can pack up during applause as long as you have time and it’s not disruptive.
• If you aren’t playing the entire concert walk on and off between works (unless you are instructed to do otherwise). Be discreet. If you don’t play the first work it’s best if you get to the concert early enough to get your music out there so you aren’t lugging a ton of stuff on to stage, but if you can’t do that, be sure you have your entrance planned and know how much you can carry without making a spectacle of yourself! The same goes for leaving a stage if you are finished before the concert is over.

All-The-Time Etiquette

• To repeat: rehearsals and performances should be scent-free zones. This doesn’t mean we allow body odor though! So use that unscented deoderant, but refrain from colognes and perfumes.
• If you are sitting second, never play the principal’s solos while warming up! It’s just not done. Even at the rehearsals.
• Don’t play other instruments’ solos either. Rude (again).
• When the concertmaster tunes the orchestra, stop playing and be quiet. (Unless, of course, you’re playing first — then tune the orchestra!)
• Be quiet. (I can’t tell you how many times I hear orchestra members yakking … sometimes even during performances!)
• Don’t conduct. Really. You may think you know more than the conductor. You may think you can do a better job. And that could even be true. But it’s rude. Don’t do it.
• Don’t stare at one of your colleagues when you aren’t playing. Even if he or she has a solo. That way, if a mistake is made, you won’t be accused of staring “because I made a horrible mistake” … believe me I’ve heard folks accuse others of this.
• In the same vein … DON’T ever look over at someone after he or she has made a mistake! That is so incredibly rude it’s inexcusable. We feel bad enough when we make mistakes. We don’t need to know you know! Don’t grimace, laugh, shake your head, or anything else either. In other words: DON’T REACT!

Hiring Ettiquette

• Return calls quickly; if you don’t call back, some contractors feel no need to wait and may hire someone else.
• Because of the above, don’t pencil in a gig until you know it’s yours.
• Write all the job info down and, if you are doing everything by phone, repeat back to the contractor what you’ve heard. I don’t care if the contractor made an error—he or she will blame you if you get times or locations wrong! So be sure and get everything down.
• Things to verify: dates, times, locations, clothing!. Don’t be caught looking like an idiot, wearing tails when tuxes were called for. Again, a contractor will probably blame you, even if he/she never gave you the info! (I even recommend then verifying everything with someone else in the group. Contractors make mistakes, just like the rest of us.)
• Don’t be late to anything. Don’t be late to anything. Don’t be late to anything. Don’t be late to anything. Get it?
• Thank the contractor for the gig if it’s the first you’ve gotten in a while. Email. Card. Whatever. They are powerful people, these contractors. They enjoy that power … or at least a lot of them do. Go ahead and kiss up a little. Not too much, of course, but feed their darn egos. You might benefit later.
• Get your music. Practice. Be prepared.

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  General Thoughts

  • Regarding intonation: It is more important to be in tune with your colleagues than to be in tune with your tuner. If 60 people are playing A-442 and you are playing your perfect A-440, YOU are wrong. If you are the principal oboe player and you are frustrated about intonation, talk to the concertmaster and work something out.
  • If you don’t say anything negative about a colleague you will never be caught saying anything negative about a colleague. Think about it. Musicians are notorious gossipers … and I speak from experience, I’m sorry to say.
  • Having a good attitude can get you through a lot of rough times.
  • Remember that while we strive to be “perfect” our true goal should be to make great music. No one is going to shoot you if you make a mistake! (Aside from maybe being shot with “anger daggers” from the conductor!)

  And … finally … from a fellow oboist:
  I have one Etiquette suggestion, which is the result of recent experiences, and from those years when I was a contractor in New York City. If you accept a date, then do the date. Don’t send a substitute, if you get called for another or better date. The Contractor called you because he wanted you, not your sub.