| Up Front: On Performing in the Pit |
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March 2011 In concluding the section on rehearsing in Up Front: A Complete Resource for Today’s Pit Ensemble (Tapspace, 2003), co-author Jim Ancona offers four simple rules on “a very simple topic: how to make the pit ‘perform’”. Republished here with permission for your contemplation and use, without further ado: Rule number 1 for performing in a pit: Look up! No, I don’t mean staring straight ahead like a robot while you’re playing a blazing 16th note run. I mean looking up in between phrases and when you’re not playing. You would be amazed at the affect this has on an audience. This promotes a tremendous sense of confidence! Rule number: Communicate! One of the reasons I love to watch experienced pit perform is because they communicate with each other during the show. This is a very sincere way of performing. Sometimes you’ll see them making eye contact with each other, a smile, a “knowing” nod; they are enjoying performing together. This can be contagious and VERY fun to watch! Rule number 3: Make performing a part of your rehearsal. If you don’t practice performing during the rehearsal, you won’t do it during the show. This is particularly true for musicians who are not used to performing. A seasoned performer can turn it on for the show; they just have to make sure that some of their “un-seasoned” colleagues are ready for it! Rule number 4: Everyone has to be on board. We’ve all seen shows where one performer is having the time of their life and the rest are standing around like moss-covered statues. Unfortunately, this makes the one person who is performing look out of place. Video taping rehearsals and performances can help in this situation. Sure performing may seem unnatural to some, but if it’s done in a subtle way, everyone be made to feel comfortable. Sounds easy, but it’s not. This is what really separates the good pits from the great pits. As I mentioned before, for my tastes the key is to be subtle. Try to avoid “fake expression” and overt visuals. Keep your pit a cheddar-free zone. If your musicians feel good about what they’re doing, they will do it every time! Says Ancona, “I think those simple rules cut right to the chase! I would add that it is important to be sincere and enjoy the performance aspect. On the other side of the coin, we do have to be careful and realize that you as an individual are not always the center of attention. It can be quite a distraction when you’re trying to watch a cool drill move or nice body work and the concert bass drummer is jumping up and down and waving his arms. Sounds funny, but I see it all the time." Do you have suggestions or submissions? Stories from the floor, questions or other interests? Email Michael Kirby at This e-mail address is being protected from spambots. You need JavaScript enabled to view it . This and many other tasty morsels of information pack this book, which can be found at the publisher’s website. While you’re there, take some time to browse around the site to glimpse the many fine publications and take a listen to their many samples, from the good folks in Portland who brought you Virtual Drumline! |
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