Last weekend my orchestra had organised a three-day musical retreat, in order to practice before our main concert. We had a great time, that I enjoyed even more as I have recently started playing again, after a long musical break. I realised how much I missed my fellow musicians, the positive energy I get from our being together.
The orchestra was divided in three groups: wind instruments (flutes, clarinets, saxophones, oboe, bassoon), brass (trumpets, horns, trombones, tubas) and percussions, each under the lead of a teacher. The percussion section was definitely the smaller and consisted of me, the first drummer and the teacher. We first looked through all the notes (we had notes for 5+ percussionists in some pieces, and had to select which ones to play), then we practiced the most difficult spots. I practiced on the castanets, that are very conveniently mounted on a wooden base, and are therefore way easier to play – there is even a knob to calibrate the opening of the shells:
We solved our doubts on the notes in the first half of the day and dedicated the second half to posture and movement while playing the drums. It was a precious moment. We rarely have the time to take care of our posture, because we are busy following the notes; but this work is even more important, because it allows us to play for longer bouts without strain or even injuries. The exercises are on a musical sense extremely simple (for example slow quarter notes) just because the attention is elsewhere, needs to be elsewhere: on the wrists, arms, back, seat; on the speed and the similarity between the hands. It is a sort of yoga for drummers. You can read more on this topic on John Lamb’s blog.
After the practice in separate sections we had two sessions of rehearsals all together. The sound was way better than in our previous runs, thanks to the accurate work on each difficult spot! I am confident that we will have a great concert, because we have passed the point where we only read notes, and are now able to add expression to our parts.
On Saturday evening the conductor was ready to thank everyone and close the session, when the trombones asked to practice one spot once more, and the conductor was so surprised. I later thought about it, and why is it such a rare event. Maybe it is because conductors are used to whip the orchestra forward, as if the orchestra itself would otherwise not play. Therefore, at the end of the repetition the orchestra usually ends up more tired than expected. In this case, working separately allowed a better feedback between the musicians and the teacher, and probably a more appropriate workload; thanks to that, we were not as tired as usual, and wanted to continue playing. If I were the conductor, I would take it as a sign that I have allowed the orchestra to work in an efficient way, and moreover, that it is manifesting its own will to improve. I would find it wonderful, and I would do my best to replicate the conditions that lead to it.
I’m so looking forward for our Sundays concert! I feel so different from when I wrote about concerts, and am so glad I am feeling overall much better.
aghisla draws 