Essentials in Conducting/Chapter 10

by Karl Wilson Gehrkens

CHAPTER X

The Orchestral Conductor

DIFFICULTIES INVOLVED IN CONDUCTING A LARGE ORCHESTRAConducting an orchestra from a full score is a vastly more complicated matter than directing a chorus singing four-part music, and the training necessary in order to prepare one for this task is long and complicated. In addition to the points already rehearsed as necessary for the conductor in general, the leader of an orchestra must in the first place know at least superficially the method of playing the chief orchestral instruments, the advantages and disadvantages involved in using their various registers, the difficulties of certain kinds of execution, and other similar matters which are often referred to by the term instrumentation. In the second place, he must understand the combinations of these various instruments that are most effective, and also what registers in certain instruments blend well with others; in other words, he must be familiar with the science of orchestration. In the third place, he must understand the complicated subject of transposing instruments, and must be able to detect a player's mistakes by reading the transposed part as readily as any other. And finally, he must be able to perform that most difficult task of all, viz., to read an orchestral score with at least a fair degree of ease, knowing at all times what each performer is supposed to be playing and whether he is doing the right thing or not. This implies being able to look at the score as a whole and get a fairly definite impression of the total effect; but it also involves the ability to take the score to the piano and assemble the various parts (including the transposed ones) so that all important tones, harmonic and melodic, are brought out. A glance at even a very simple orchestral score such as that found in Appendix B will probably at once convince the reader of the complexity of the task, and will perhaps make him hesitate to "rush in where angels fear to tread" until he has spent a number of years in preparation for the work.

DIRECTING A SMALL ORCHESTRAThe above description has reference, of course, to conducting an orchestra of approximately symphonic dimensions, and does not refer to the comparatively easy task of directing a group consisting of piano, violins, cornet, trombone, and perhaps one or two other instruments that happen to be available.^[1] In organizing an "orchestra" of this type, the two most necessary factors are a fairly proficient reader at the piano (which, of course, not only supplies the complete harmony, but also covers a multitude of sins both of omission and of commission), and at least one skilful violinist, who must also be a good reader. Given these two indispensable elements, other parts may be added as players become available; and although the larger the number of wind instruments admitted, the greater the likelihood of out-of-tune playing, yet so great is the fascination of tonal variety that our inclination is always to secure as many kinds of instruments as possible.

The chief value to be derived from ensemble practice of this type is not, of course, in any public performances that may be given, but is to be found in the effect upon the performers themselves, and the principal reason for encouraging the organization of all sorts of instrumental groups is in order to offer an opportunity for ensemble playing to as many amateur performers as possible. For this reason, unavoidable false intonation must not be too seriously regarded.

An orchestra such as we have been describing is frequently directed by one of the performers; but it is our belief that if the group consists of ten or more players it will be far better to have the conductor stand before the players and direct them with a baton. The type of music that is available for amateur ensemble practice is unfortunately not often accompanied by a full score for the conductor's use, and he must usually content himself with studying the various parts as well as he may before the rehearsal, and then direct from a first violin part (in which the beginnings of all important parts played by other instruments are "cued in"). Directing from an incomplete score is, of course, extremely unsatisfactory from the musician's standpoint, but the necessity of doing it has this advantage, viz., that many persons who have charge of small "orchestras" of this type would be utterly unable to follow a full score, and might therefore be discouraged from organizing the group at all.

SEATING THE ORCHESTRASymphony orchestras are always seated in approximately the same way, and if our small ensemble group consists of twenty players or more, it will be well for the conductor to arrange them in somewhat the same manner as a larger orchestra. In order to make this clear, the ordinary arrangement of the various parts of a symphony orchestra is here supplied. The position of the wood winds and of the lower strings as well as of the percussion instruments and harp varies somewhat, this depending upon the composition being performed, the idiosyncrasies of the conductor, the size and shape of the platform, et cetera.

SEATING PLAN OF A SYMPHONY ORCHESTRA

In dealing with a smaller group (not of symphonic dimensions), it will be well to have the piano in the middle, the lower strings at the left, the winds at the right, and the violins in their usual position. The diagram will make this clear. It is to be noted that this seating plan is only suggestive, and that some other arrangement may frequently prove more satisfactory.

SEATING PLAN SUGGESTED FOR A SMALL ORCHESTRA

 PROPORTION OF INSTRUMENTSIn a symphony orchestra of about one hundred players, the proportion of instruments is approximately as follows:

1. Strings:
	18 first violins
	16 second violins
	14 violas
	12 violoncellos
	10 double basses
2. Wood wind:
	3 flutes	$\scriptstyle {\left.{\begin{matrix}\ \end{matrix}}\right\}\,}$ (Usually only three players)
	1 piccolo
	3 oboes	$\scriptstyle {\left.{\begin{matrix}\ \end{matrix}}\right\}\,}$ (Usually only three players)
	1 English horn
	3 clarinets	$\scriptstyle {\left.{\begin{matrix}\ \end{matrix}}\right\}\,}$ (Usually only three players)
	1 bass clarinet
	3 bassoons	$\scriptstyle {\left.{\begin{matrix}\ \end{matrix}}\right\}\,}$ (Usually only three players)
	1 double bassoon
3. Brass wind:
	4 horns (Sometimes 6 or 8)
	2 or 3 trumpets (Sometimes 2 cornets also)
	3 trombones
	1 bass tuba
4. Percussion:
	1 bass drum	$\scriptstyle {\left.{\begin{matrix}\ \end{matrix}}\right\}\,}$ (One player)
	1 snare drum
	3 kettledrums (Of different sizes—one player)
	1 triangle	$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,}$ (One player)
	1 glockenspiel
	1 pair cymbals
	et cetera
	1 harp (Sometimes 2)

It will be noted that out of about one hundred players almost three-quarters are performers upon stringed instruments, and it is this very large proportion of strings that gives the orchestral tone its characteristic smoothness, its infinite possibilities of dynamic shading, its almost unbelievable agility, and, of course, its inimitable sonority. The wind instruments are useful chiefly in supplying variety of color, and also in giving the conductor the possibility of occasionally obtaining enormous power by means of which to thrill the hearer at climacteric points.

Our reason for supplying the above information is mainly in order to direct attention to the small proportion of wind (and especially of brass) instruments, and to warn the amateur conductor not to admit too large a number of cornets and trombones to his organization, lest the resulting effect be that of a band rather than that of an orchestra. If there are available a great many wind instruments and only a few strings, it will probably be better to admit only a few of the best wind instrument players to the orchestra (about two cornets and one trombone) and to organize a band in order to give the rest of the players an opportunity for practice.^[2] It will probably be necessary for the conductor to warn his wind players to aim at a more mellow tone than they use when playing in a band, in order that the brass tone may blend with the string tone. In the case of the reed instruments, this will sometimes mean a thinner reed in orchestra work than is used in bands.

TRANSPOSING INSTRUMENTSIn dealing with any ensemble group that includes wind instruments, the conductor must master the intricacies involved in the subject of transposing instruments, and although this book is not the place to get such technical knowledge as was referred to in the introductory paragraph of this chapter, yet perhaps a brief explanation of the most important points will not be wholly out of place, since we are writing more especially from the standpoint of the amateur.

By a transposing instrument we mean one in the case of which the performer either plays from a part that is written in a different key from that of the composition, or that sounds pitches an octave higher or lower than the notes indicate. Thus, e.g., in a composition written in the key of E-flat, and actually played in that key by the strings, piano, et cetera, the clarinet part would probably be written in the key of F, i.e., it would be transposed a whole step upward; but, of course, the actual tones would be in the key of E-flat. The player, in this case, would perform upon a B-flat clarinet—i.e., a clarinet sounding pitches a whole step lower than indicated by the notes. (It is called a B-flat clarinet because its fundamental gives us the pitch B-flat this pitch being a whole-step lower than C; and it is because the pitch sounded is a whole step lower that the music has to be transposed a whole step higher in order to bring it into the correct key when played.) In the case of the clarinet in A, the pitches produced by the instrument are actually a minor third lower than the notes indicate (A is a minor third lower than C, just as B-flat is a wholestep lower). In writing music for clarinet in A, therefore, the music will need to be transposed upward a minor third in order that when played it may be in the right key; just as in the case of the clarinet in B-flat, it has to be transposed upward a whole-step.

"Clarinet or cornet in B-flat" means, therefore, an instrument that sounds pitches a whole-step lower than written; "clarinet or cornet in A" means one that sounds pitches a minor third lower than written; "horn in F" means an instrument sounding pitches a perfect fifth lower than written (because F is a perfect fifth below C); while the "clarinet in E-flat" sounds pitches a minor third higher than written. Whether the pitches sounded are higher or lower than the notes indicate will have to be learned by experience or study.

If the passage marked Fig. 1 were to be orchestrated so as to give the highest voice to the clarinet and the lowest to the horn, the clarinet and horn parts would appear as shown in Fig. 2.

In order to make this information more specific, we add a table showing the keys of the original and transposed parts. The practical band man expresses the substance of this table tersely by saying, "subtract 3 sharps or 2 flats."

Original Key	Transposed Key	Kind of Instrument
C	D	B-flat
G	B-flat	A
D	F	A
A	C	A
E	G	A
B	D	A
F-sharp	A	A
C-sharp	E	A
F	G	B-flat
B-flat	C	B-flat
E-flat	F	B-flat
A-flat	B-flat	B-flat
D-flat	E-flat	B-flat
G-flat	A-flat	B-flat
	or	or
	A	A
C-flat	D-flat	B-flat

REASONS FOR TRANSPOSING INSTRUMENTSThe principal reasons for the use of transposing instruments are: first, because certain sizes of instruments produce a better quality of tone than others (e.g., the B-flat clarinet sounds better than the C clarinet); and second, because it is easier to play in keys having a smaller number of sharps and flats, and by transposing the parts to other keys, we can usually get rid of several sharps or flats.

In the case of performers on the clarinet, each player is necessarily provided with two instruments (an A and a B-flat the C clarinet being almost obsolete, and the E-flat being used only in military bands); but in playing upon the brass wind instruments the same instrument may be tuned in various keys, either by means of a tuning slide or by inserting separate shanks or crooks, these latter being merely additional lengths of tubing by the insertion of which the total length of the tube constituting the instrument may be increased, thus throwing its fundamental pitch into a lower key.

In order to gain facility in dealing with transposed parts, the amateur is advised to try his hand at arranging simple music (hymn tunes, folk songs, easy piano pieces, et cetera) for his group of players, transposing the parts for clarinets, cornets, et cetera, into the appropriate keys. In this way he will also get an insight into the mysteries of instrumental combination that cannot be secured in any other way.

PITCH STANDARDSThe first difficulty that the conductor of an amateur ensemble group usually encounters is that the instruments owned by his players are tuned according to various pitch standards; and he is very likely to find at his first rehearsal that his first-clarinet player has an instrument tuned in "high pitch," i.e., what is commonly known as concert pitch (about one half step above standard), while his second-clarinet player has an instrument in "low pitch," i.e., international, a′ having 435 vibrations per second. (There is also a third pitch which is used by many of the standard symphony orchestras—this pitch being based upon a vibration rate of 440 for a′). If the conductor attempts to have his orchestra perform under these conditions, disaster will surely overtake him, and he will not only find his ears suffering tortures, but will be more than likely to hear uncomplimentary remarks from the neighbors, and will be fortunate indeed not to be ordered on to the next block or the next town by the police force! The difficulty arises, of course, because the oboe, English horn, clarinet, and other wood-wind instruments are built in a certain fixed pitch, and since the length of the tube cannot be altered, they must either play in the pitch intended or else not at all. In the case of the clarinet and flute, the pitch can be altered a very little by pulling out one of the joints slightly (the tube is made in several sections) thus making the total length slightly greater and the pitch correspondingly lower; but when this is done the higher tones are very apt to be out of tune, and in general, if the player has an instrument tuned in high pitch, he cannot play with an ensemble group having low-pitched instruments, especially when the piano supplies the fundamental harmony. In the case of the brass instruments, a tuning slide is usually provided, and the same instrument can therefore be utilized in either low or high pitch combinations.^[3]

TUNINGThe conductor of an amateur ensemble group will find it very greatly to his advantage to be able to tune the various instruments, or at least to help the players to do it accurately. This involves not merely a mechanical knowledge of what to do to the instrument to change its pitch, but, what is much more important, a very high degree of pitch discrimination on the conductor's part. It is at this latter point that assistance is most often necessary, and the conductor who can tell his cornet player when he is just a shade high or low, and can determine precisely when the violinist has his strings tuned to an absolutely perfect fifth, will have far less trouble with out-of-tune playing than otherwise; for a great deal of sharping and flatting (particularly in the case of wind instruments) is the result of inaccurate tuning.

BOWINGSince an orchestra contains such a large proportion of stringed instruments it will be very greatly to the interest of the conductor to take up the study of some instrument belonging to the violin family, and to learn to play it at least a little. If this is altogether impracticable at the beginning, the next best thing for him to do is to study bowing, learning not only the bowing signs and their meaning, but familiarizing himself thoroughly with the principles underlying the art. For this purpose some good work on bowing should be studied, but meanwhile a few words on the subject at this point will give the absolute beginner at least a small amount of indispensable information. The signs commonly employed in music for violin, viola, violoncello, and doublebass, to indicate various manners of bowing, are as follows:

	Down-bow: i.e., from nut to point.
	Up-bow: i.e., from point to nut.
	Slurred: i.e., all notes under the sign played in one bow.
	Staccato: i.e., all notes in one bow, but the tones separated.

The ordinary staccato mark (

or

) means a long quick stroke, either up or down as the case may be. The absence of slurs indicates a separate stroke of the bow for each tone. Sometimes the player is directed to use the lower half, the upper half, or the middle of the bow, such directions being given by printing the words "lower half," et cetera, above the passage, or by giving the initials of these words (sometimes in German). When no bowing is indicated, a phrase beginning with a weak beat commonly has an up-bow for the first tone, while one beginning on a strong beat has a down-bow; but this principle has many exceptions. It is perhaps needless to state that correct phrasing in the case of the stringed instruments depends upon the employment of suitable bowing; and since the first violin part is most prominent and most important in orchestral music, it becomes the business of the conductor to observe most carefully the bowing of his concert-master and to confer with him about possible changes in bowing wherever necessary. It will save a great deal of confusion if players understand that the bowing is to be exactly as indicated in the score unless a change is definitely made. The first player in each group in point of position on the platform is called the "principal," and is supposed to be the most skilful performer in that section; and he is responsible, in conference with the conductor when necessary, for selecting the best bowing, et cetera, all others in the group watching him, and all phrasing as he does. In actual practice, this means that the players at the second desk bow like those at the first, those at the third desk follow those at the second, et cetera. Absolute uniformity is thus secured in each section. It should perhaps be remarked at this point that when different groups are playing the same phrase, e.g., violoncellos and basses, or second violins and violas, the bowing must be uniform in the two sections, if absolute uniformity of phrasing is to result.

In addition to the bowing signs explained on page 103, the conductor should also be familiar with certain other directions commonly found in music for stringed instruments. Some of the most important of these, together with their explanations, are therefore added.

Pizzicato (pizz.)	(pluck the string instead of bowing)
Col arco (or arco)	(play with the bow again)
Con sordino, or	$\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,}$ (affix the mute to the bridge)
Avec sourdine
Senza sordino, or	$\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,}$ (remove the mute)
Sans sourdine
Divisi (div.) (divide, i.e., let some of the players take one of the two tones indicated and the remainder of them the other one. This direction is of course used only in case two or more notes appear on the staff for simultaneous performance. It is customary to divide such passages by having the players seated on the side next the audience take the higher tone, while the others take the lower. If the section is to be divided into more than two parts, the conductor must designate who is to play the various tones.)

SCORE READINGReading an orchestral score is a matter for the professional rather than for the amateur; and yet the great increase during recent years in the number of amateur orchestras probably means that more and more of these groups will continue their practice until they are able to play a more difficult class of music—this involving the necessity on the part of their conductors of learning to read an orchestral score. For this reason a few suggestions upon score reading are added as a final paragraph in this chapter, and an example of a score is supplied at the end of the book—Appendix B (p. 166.)

The main difficulties involved in reading a full score are: first, training the eye to read from a number of staffs simultaneously and assembling the tones (in the mind or at the keyboard) into chords; and second, transposing into the actual key of the composition those parts which have been written in other keys and including these as a part of the harmonic structure. This latter difficulty may be at least partially overcome by practice in arranging material for orchestra as recommended on page 101; but for the first part of the task, extensive practice in reading voices on several staffs is necessary. The student who is ambitious to become an orchestral conductor is therefore advised, in the first place, not to neglect his Bach during the period when he is studying the piano, but to work assiduously at the two- and three-part inventions and at the fugues. He may then purchase miniature scores of some of the string quartets by Haydn, Mozart, and Beethoven, training himself to read all four parts simultaneously, sometimes merely trying to hear mentally the successive harmonies as he looks at the score, but most often playing the parts on the piano. After mastering four voices in this way, he is ready to begin on one of the slow movements of a Haydn symphony.

In examining an orchestral score, it will be noted at once that the string parts are always together at the bottom of the page, while the wood-wind material is at the top. Since the strings furnish the most important parts of the harmonic structure for so much of the time, our amateur will at first play only the string parts, with the possible addition of the flute, oboe, and certain other non-transposed voices a little later on. But as he gains facility he will gradually be able to take in all the parts and to include at least a sort of summary of them all in his playing. The student is advised to purchase a number of the Haydn and Mozart symphonies either in the form of pocket editions or in the regular conductor's score, and to practise on these until he feels quite sure of himself. By this time he will be ready to try his hand at a modern score, which will be found not only to contain parts for more instruments, but many more divided parts for the strings. Meanwhile, he is, of course, taking every possible opportunity of attending concerts given by symphony orchestras, and is begging, borrowing, or buying the scores of as many of the compositions as possible, studying them in advance, and taking keen delight in following them at the performance; perhaps even imagining himself to be the conductor, and having visions of changes in interpretation that he would like to make if he were directing. As the result of several years of this sort of study, even an amateur may get to the point where he is able to conduct an orchestra from a full score with some degree of skill, and hence with some little satisfaction both to himself and to the performers.

TABLE SHOWING RANGES OF ORCHESTRAL INSTRUMENTS

Note: The arrangement of instruments here indicated is essentially that found in a modern orchestral score. The ranges given represent practical orchestral usage. Additional tones possible for highly skilled performers or on instruments with certain special keys (like the low b of the flute) are shown in brackets.

1. Let us not be misunderstood at this point. We are not sneering at the heterogeneous collections of instruments that are gathered together under the name of orchestra in many of the public schools throughout the country. On the contrary, we regard this rapidly increasing interest in ensemble playing as one of the most significant tendencies that has ever appeared in our American musical life, and as a result of it we expect to see the establishment of many an additional orchestra of symphonic rank, as well as the filling in of existing organizations with American-born and American-trained players. There is no reason why wind players should not be trained in this country as well as in Europe, if we will only make a consistent attempt to interest our children in the study of these instruments while they are young, and provide sufficient opportunity for ensemble practice in connection with our music departments in the public schools.
2. In making plans for the organization of a group of wind instrument players into a band, it should be noted by the conductor that here the entire harmony must be supplied by the individual instruments (no piano being used) thus making it necessary to have alto, tenor, and baritone saxhorns in addition to cornets, clarinets, flutes, and trombones. The tuba is also almost indispensable, while the inclusion of two or three saxophones will greatly increase the mellowness of the effect as well as providing an additional color to make the tonal textures more interesting.
3. "High pitch" is employed mostly in bands; the reason for its use being that the wind instruments are much more brilliant when tuned to the higher pitch. It is encouraging to be able to state, however, that more and more instruments are being built in "philharmonic pitch" (a′ 440), and the conductor who is organizing a band or orchestra is advised to see to it that all players who are purchasing new instruments insist upon having them built in this pitch.