Community concert band directors have more decisions to make than anyone else in the group, but sometimes it’s not about what you might think.
Oh sure, they have to come up with pieces for the next program, perhaps following a theme. They need to know if certain parts will not be covered and remember how the overall balance will be affected by the acoustics of the next venue. They have to prepare their program notes, deciding which details to tell the audience, and how long to talk between pieces, if at all.
All of these decisions are important, and I would guess that most directors might even call them “fun” because they likely enjoy the challenge, but these are all planned decisions, where there is usually time to work through any potential issues before the event.
However, there are other decisions directors must make on the spot, many of them during rehearsal. For instance, what do they do when:
- The trumpets don’t seem to know/care that they’re out of tune with each other?
- A handful of the clarinets can’t seem to count higher than four?
- The only piccolo player provides more air than actual notes?
- One of the percussionists consistently reads rhythms wrong?
Obviously, these and similar issues plague community ensemble directors much more than professional/military band directors. It’s frustrating. They all add up over time, necessitating a certain amount of pragmatism. Some problems are worth working out right then, maybe with a few run-throughs or further explanation, but others can wait until later. And yet other problems may never be fully solved. It all depends on the director’s current priorities and the abilities of the players.
I recently asked one of my directors how he so aptly dealt with problems that, to me, are obvious and should not be happening. At least, not so often. He said, “I agree that there is a certain level of apathy. I don’t have the answer, but I’m trying to use positivity to bring energy and focus.” This is a good rule of thumb. Does your director stay positive? I’m in three different bands, and all of my directors do, even during trying moments.
Does it take a certain personality to step onto a podium and run an amateur concert band rehearsal? Maybe, but no matter what your personality, you must learn patience and keep a cool head as often as possible. Sometimes you just have to work with the musical cards you’ve been dealt. Happily, many experienced and knowledgeable directors have built impressive and professional-sounding community ensembles.
How does your director solve certain issues?
Do they have high expectations?
Are they nasty or nice? Verbose or quiet? Expressive or deadpan?
How do the other players in your section deal with tuning or rhythmic issues?