# Ensemble Etiquette ## Percussion Ensemble Percussion ensemble is chamber music requiring the careful balancing of all parts and an understanding of the moment-by-moment role and function of each individual part. This can only be accomplished by the prepared presence of all ensemble members. ### Attendance and Subs - Attend all rehearsals and concerts. - Do not accept commitments that conflict with scheduled rehearsals and concerts. - If an absence is necessary, make sure that: 1. you contact the ensemble instructor via email or Slack; 2. the folder of music arrives at the rehearsal; 3. a competent substitute replaces the absent player, if possible; - the substitute player has all necessary mallets, auxiliary instruments, and knowledgeable of the necessary set-up (being aware of his/her responsibilities) - Arrive at a minimum of 15 minutes ahead of rehearsal times for set-up and warm-up. > [!Warning] > Rehearsal downbeat occurs at the **designated rehearsal time.** Preparations for rehearsal must be complete at this time. Proper setup and warmup is considered a responsibility of each member. ### Preparation - All ensemble members should always be fully prepared; - all instruments present, in working order, and properly tuned. - All mallets and paraphernalia are the responsibility of the performer, as are pencils, music markings, auxiliary equipment, tuning equipment, etc. - Practice individual parts outside of rehearsal. - All ensembles require concentrated individual preparation. - The quality of any ensemble is only as good as the weakest individual performance. - **Contribute towards the scheduling and effectiveness of sectional rehearsals whenever necessary.** - Be a proactive ensemble member; if material within a subsection is subpar, gather your peers for a rehearsal. - Be flexible and collegial; calling a sectional should *never* be punitive or demeaning. Aggressive or condescending student rehearsal "leadership" will be dealt with severely by the instructor and/or Coordinator. - If agreements cannot be reached, consult your instructor for help. ### Rehearsal Etiquette - **Talking out of turn and inappropriate phone use are non-negotiable** - Talking during rehearsals should pertain only to immediate ensemble requirements. - **Phones will not be tolerated: inappropriate use will trigger removal from rehearsal and final grade implications**. - **Designed multiple set-ups are the responsibility of each performer.** - Diagram when necessary; try to be consistent in set-up. - It is a good idea to recheck for possibilities of improved set-ups as the music becomes more familiar and comfortable. - Individual set-ups are first priority, **but offer help to individuals with larger or more complex set-ups.** - **Maintain lists of all needed equipment and mallets for each work to be performed.** - Do not leave mallet and instrument needs it to memory. - Do not find yourself in performance or rehearsal with instruments or mallets missing. ### Mentality - **Bring a positive attitude and be prepared for criticism** - Pouting, backtalk, and overall unsavory and/or defensive behavior till not be tolerated and may result it dismissal from rehearsal and a subsequent behavioral discussion in private. - You *will* be corrected—publicly and often—get used to it. Regardless of your preparation, being corrected or "called out" is not a personal attack on your character. Learn to separate your musical execution from your self-worth. - **Understand that the objective is to _enjoy the process_** - Fun will and should be had during rehearsals; laughter, jokes, and "bloopers" will occur and are what make chamber music a highlight of our craft - Understand there's a line and do not cross it; know that ***enjoyment does not usurp excellence and productivity, it enhances it.*** - Know how to make "[[The Switch]]" in rehearsal. Developing The Switch will make you an *elite* performer and beloved professional. ## Large Ensemble ### Set-Up Time - Arrive a minimum of 20 minutes before the scheduled start time. - Set up carefully; - help others; - then warm-up a little (after **everyone** is set). - Do not allow casual conversation to interfere with efficient set-up obligations. - If course obligations across campus prohibit early arrival, communicate with the principal/section leader and make arrangements for providing extra assistance in putting equipment away. ### Do not leave rehearsals - a. If you don’t play in a work: remain in the area; if appropriate, perhaps begin to remove unnecessary equipment very quietly, or practice in the percussion area until needed (if those arrangements are appropriate). - Always keep in touch with the principal; do not assume anything regarding posted schedules – the conductor can change the rehearsal order and the needs for percussion. - Always return at the end of the rehearsal to complete the process of equipment storage. Do not leave before EVERYTHING is stored properly. Let the principal know when you are leaving the premises. ### Check the band/orchestra boards and emails - Each member of the percussion section is individually responsible for rehearsal information (e.g. rehearsal order of works, equipment needs, etc.). - Personally check the rehearsal board on the way into the percussion area; do not always ask the principal what the order is unless arrangements/decisions have declared one member to check the board before each rehearsal. - Know what is going on–become aware of the total needs of the section. ### Always bring the following to all rehearsals - a. ALL necessary sticks/mallets, trap cloths, pencil, instruments, etc. - If you must borrow, arrange for it well ahead of time-not on the spot - Try to avoid borrowing instruments and mallets. Always be courteous. - ARRIVE with the music prepared carefully and completely. Because percussion parts normally contain a great deal of rests, it is imperative that a percussionist becomes familiar with ALL of the parts, not just percussion. This is normally achieved through score study and listening to recordings (if available) before the rehearsal. Rehearsal time is for deciding on sound choices, balance/blending, and practicing consistency. Do not waste rehearsal time learning your part and how it fits in the ensemble.