So you are hoping to play percussion in an orchestra . . .?

We are the salt on the egg, the icing on the cake, the foundations of the building, the dreams and clouds of magic. We can die of boredom or terror but no-one must know. We can also support or destroy an orchestra. When in doubt the rest will follow the beat of the drum . . . just like soldiers. We are either waiting to dive off the cliff, or have dived. There are no half measures.

As we percussionists have undeniable and unique responsibilities, it is important that as much preparation is made as possible, so that we can concentrate on the actual music. Our problems are many, and although some of the following observations may seem too obvious to mention, all have been worried over by inexperienced players.

We go to college, and learn how to play exotic, and difficult recital pieces, but rarely are the basic practicalities of working in an orchestra spelled out to us. Such considerations make the difference between an amateur or a professional approach to the task in hand.

THE GOLDEN RULE AT ALL TIMES IS, LISTEN, LISTEN, ............LISTEN!

Not only so that you do not drown the orchestra, but so that you play with your colleagues, as one instrument. Phrase the music, and if you are playing with more than one person, there should be an homogenous sound. Be sensitive and as aware as possible of what is happening within the section.
For instance, if you are the supporting player (say crescendo bass drum, or suspended cymbal roll) leading up to a huge cymbal crash, make sure that you give the gutsy dynamics needed for your cymbal colleague to pick up on. The conductor will always flag you down if it is too loud, but the cymbal player will only secretly grumble if you give a disappointing lead.
Make as much as possible of whatever you have to play. We too are musicians, not just the thud and blunder merchants! Meticulously follow dynamic markings, balancing what you see with what you are doing at all times.

* Take a pride in what you are doing.
Every percussion instrument deserves to be played with a certain amount of style and panache.
For instance tall young lads can be embarrassed about playing the humble triangle . . . but remember what Berlioz, an innovative and masterful orchestrator, said:
'The addition of a triangle roll to a red-hot orchestral sound, turns it to white-hot.' This is an instrument which can always be heard throughout the loudest orchestra, and needs to be played with great care, attention, and affection.
Many composers know how to use the simple triangle to great effect, it is a trick of their trade.
For instance; compare the final part of Stravinsky’s Firebird complete ballet music (no triangle trill), to the almost identical final part of the Suite from Firebird where the composer has added a triangle trill – this particular after-thought is magical and hair-raising.

* Music stands.
Remember to site your music stand at the optimum height for seeing your music, and the conductor. You do not have to look directly at the maestro, but you must be able to see him or her, at all times. This is often forgotten until it is too late, as it is only too easy to forget that you may have to lower your head to play a gong, or pick up something from the floor at a crucial part in the proceedings. Just be aware of this, it is half the battle.
Orchestral bells (chimes) are the real nightmare, and there seems to be no solution to the problems they bring. You cannot take them home to practise, and it is not until the actual rehearsal that you can try to place them in such a way that you can see the conductor, music and bells. Three eyes would seem to be the only answer – so grin, bear it, and do your best.

* Marking the part.
Mark your part with discretion and a soft pencil. It is permissable to mark NEATLY anything which will help you towards a better performance. No untidy scribbles though, these messy indulgences are usually perpetrated by youth orchestras, who know no better.
In a complicated composite percussion score, carefully mark your own instrument line(s). You will really appreciate your own handwriting when it comes to the performance. Comfort blankets for years to come. Go to (another instrument) . . . stay (with the same instrument - the next entry may be pages ahead!) V.S.; Time at the page turn. It is useful however, to discreetly note any change of instrument beyond a page turn, rather than give the game away by peeping coyly over the page before you get there.
Similarly, indicate any mallet changes well ahead of time. Mark which hand starts a passage (L.H. / R.H), then just follow through logically, you should not need to overstate.
If there are many repeated lines on a page, then it helps to draw parallel strokes (tram-lines) between the beginning or end of some of the staves so that you can more easily keep an eye on where you have got to. Number your own tacet bars on a percussion score, this helps if you are changing instruments or beaters, all you need do then is doggedly count, and you will spot the place of re-entry much more easily. Or at the beginning of many repeated bars denote the number to go e.g. 1 - 24 – then you can take your eyes off the paper again, and stare at the conductor whilst playing and secretly counting.
Cue in instrumental solos (e.g. flt/clart) which you can hear, at the start of tacet sections, but only if this will help. Otherwise try to keep your music free from extraneous markings.

* Using 2 music stands for 2 or more parts.
If using more than one part, mark each exit and entry with a discreet arrow/star, so that you can pin-point the new place on the other sheet of music – like following a trail. Mark page turns from one to the other. Always think ahead!

* Counting
Count the bars rest as they appear on the music, do not be tempted to add small numbers together. This is when the mind wanders and then you cannot remember whether you have added together or not, or even where you are if the conductor stops in the middle of your calculations.
If you keep to a golden rule of counting everything as it comes, then you will be safe. Have a method (fingers, toes?), then in extremis your automatic pilot will not let you down. Some count one in a bar (measure) through gritted teeth. (Be advised to count all Tschaikovsky’s music - he is full of deceptive little pit-falls.)
Some sections work on the premise that the next person to play does the counting. (This can be unfair if it is always the poor old bass drummer . . .)
However, be wary of relying on your immediate colleagues for entries in a new piece . . . they may be lost too. You may find it helpful if you all make a discreet finger movement at rehearsal numbers/letters in an unfamiliar piece; a great comfort when you find that you all agree.

* Organise your music before the performance.
This is time well spent and particularly crucial if there are lots of short pieces in a programme (e.g. Viennese, Film, Firework concerts ). Do make sure that the appropriate parts are on the appropriate stands. It is no good having a xylophone part buried in the pile on the stand for bass drum and cymbals.

* Organise your instruments before the performance
Agree with your colleagues about when and where everything will be placed on the concert platform. You sometimes will be flying blind and will have to pick up instruments or sticks without first looking to see where they are. Trust each other; it is called teamwork.
Always be meticulous about not making extraneous noises when picking up and putting down.
We all know about making sure that the tambourine is the right side up for the next entry, but you could be doubly careful and mark the part accordingly. Please be aware that sticks and beaters click when picked up or put down clumsily and always switch off snares even in loud tutti passages, otherwise someone will inevitably be driven mad by them. Avoid loud, snappy snare releases, and meticulously hand damp (muffle) the gong and suspended cymbal, and both sides of the bass drum wherever possible. Put a cloth (concert black) over the gong (TT) even when it is not in use – it has a sneaky habit of ringing after loud passages. There is a strong case for siting the gong as far away from loud instruments as possible.
This can make the difference between a messy amateur or an aware professional approach.

* Try not to let conductors or composers intimidate you
You are the specialist, be polite but firm. Sometimes it takes time to get a point across, but it may have to be done tactfully if you are to be faithful to a composer who cannot speak for himself.
It is wise to tell the maestro if you cannot see the beat, or you cannot hear the rehearsal instructions, and do ask for a cue, or at least an eyebrow, for such cliffhangers as scary fortissimo solo cymbal entries. However it is a courtesy to communicate via your Section Principal unless you are directly addressed from the rostrum..

* The look of the thing; concert performance
Stand up straight, try not to fidget, or lean on large instruments, and never give the game away if you are feeling nervous. It is not your job to make the audience nervous. ('You look so serene'). Take deep breaths and tell yourself that it was perfectly fine at the rehearsal. If it wasn't, then do something about it before the concert.
When you stand to play remember that whatever is going on in the orchestra at that moment, someone will catch the movement and look at YOU. Try not to leap to your feet at the last minute – it is good practice to stand at the same time as others if your entries are close together. When appropriate, follow the lead of your Section Principal (sitting and standing), then there are fewer distracting movements. Try to move smoothly within the section - if possible with calm deliberation., unless there is a panic on, then you just have to go for it. (Swim secretly with head above water.) If necessary, practice the moves you will have to do in the specific places in the piece.
‘If you dive for the tam tam there, I can get behind for that last bass drum note, and I’ll try to remember to turn your music for you.... OK?’ You know the sort of thing.
Do try not to look bored, but you are allowed to look interested. You are also allowed a lump in the throat, and even to shed the odd tear . . . sometimes you will have a fit of giggles (lion's roar, cuckoo, bull roarer) but try to control this. It is all called music however, and the audience will love it.
Two contradictory maxims to bear in mind:
‘When in doubt, leave it out’ and ‘ If you are going to make a mistake, make it a good one!’

DON’T BE A HERO.

Oh, and by the way - when you are first engaged to play in an orchestra, whether amateur or professional, get to rehearsal in good time to help with the setting up of the instruments and stands. Players have been known to lose work because of laziness in this respect, apart from which the Section Principal will need some time to hand out the music, and to discuss any relevant details.
Percussionists also soon learn to contrive to be the first players in the intermission’s refreshment line, and don’t forget to have enough to keep you occupied in the interminable rehearsal tacets such as in Bruckner symphonies, and other noble works. Now you really are a member of a team.

Keep smiling, enjoy your music . . . this is only the beginning, and you haven’t played a note yet!

                                          J  By Maggie Cotton