What is the minimum playing standard needed to receive tenure, and are there any special nonmusical requirements (such as being in the union, or playing in quartets, or befriending the manager)? What do you think was the total maximum number of times in the entire probationary period (including orch. rehearsals) that you were allowed to OBVIOUSLY stick out (as in playing an evidently wrong note or playing in the rest), before you would be disqualified or would have been disqualified from being renewed (or is this more easily measured as the # of times in each concert)? How did you fare compared to that cutoff mark (how many times in the season or did you actually significantly stick out before the time you were renewed or non-renewed)? Within a given concert, what do you think was the average maximum # of strokes you were allowed to play OBVIOUSLY in the reverse direction from the others in the section before you'd become in danger of being non-renewed? I would like to hear from section string players who have received tenure or who have not been renewed. Please state your instrument if possible. Thank you!
PS. I'm sure people out there have similar questions as I do, so your input can help them too!

This message has been edited. Last edited by: aohiceyt,

I'm a trumpeter in a smaller ICSOM orchestra, and attaining tenure was essentially the same for me as it is for section violinists, oboists, or whatever. I'd like to respectfully tell you that I think these questions are a bit misguided.

Tenure in most cases is about getting along with your colleagues rather than consistently dazzling them with your playing.

Once you've won the audition, it's established that you play well and the orchestra wants you. From there, it's not as if a running tally of all the mistakes you make is kept. Sure, if you stop practicing altogether, you might have trouble attaining tenure, but it's not as if you should view every inevitable error you make as "strike one, strike two..." etc.

Like any professional, you try to learn how to fit in. In most cases your colleagues will help you do so. Joining the union doesn't really have anything to do with tenure, though you usually have to join as part of the gig.

From what I've seen, major non-renewal issues are usually things like blatantly unprofessional behavior, being a crappy colleague, being unreliable (late to gigs, etc.) and stuff like that. For titled jobs, it may be a bit more pressurized, as there are leadership functions you have to fulfill which many fine players have trouble doing, or need a while to learn. But a player good enough to win an audition can have confidence that if they consistently try to play at their best, keep their fundamentals in check, and maintain a friendly demeanor, they'll do fine in nearly every case.

Of course, sometimes there are intangibles. I know people who've been let go for little or no communicated reasons. Some orchestras hold meetings with you periodically to let you know how it's going, but many do not. In these cases, there's really not much one can do other than the same things I mentioned above.

Sometimes the reasons for getting or not getting tenure are not quantifiable.

It goes without saying that you always need to be fully prepared, play in tune, blend in, don't cack all the time...

Aside from the delivering musically, ask yourself if you are blending in personally. Do you draw attention to yourself? Are you loud, boisterous? Are you too funny? Do you gossip? Do you go against the grain? Do you kvetch and complain and express strong opinions? Do you wear strong scents or have smelly feet or stale clothes? Do you say pleasant hellos and wear a kind face? Do you form allegiances within the group, i.e. social cliques, dating colleagues, etc? Goofing up along these lines could quietly work in your disfavour.

Unfortunately, when people make themselves unpopular with the tenure review powers, whether for musical or non-musical reasons, the reasons given will rarely be completely honest. Nobody will ever admit that they did not vote for you because you smell stale or because you fell in love with their ex-love who plays in the orchestra; they'll mask their distaste by saying something like, "Oh, they just weren't a good fit in our section..."

Getting a quantifiable answer is likely to be nearly impossible, either in real life or on this forum. My humble opinion would be simply always to be your best self, your best player, your best person and colleague. Be somebody who you would want to sit next to for the rest of your own career.

:-)

Cecilia

Each orchestra is different, and has different quirks and standards. In some, you have to totally screw up in very obvious ways to be denied tenure; in others they are just itching to find excuses to deny it (no names mentioned).

I would advise putting on a bland, pleasant demeanor and making absolutely no waves. Do not speak at any orchestra meeting, or offer your opinion, privately or publicly, on any issue that is even remotely controversial. Try to do everything in your power to please your principal and the concertmaster, without degenerating into an ***kisser, which turns everyone off.

As to the number of mistakes that are acceptable: more important than the number of errors is your progress. Everyone is inexperienced and nervous at first, and makes a few glaring mistakes. But does it continue for the entire first season, or even longer? After a couple of months in the orchestra a new player should have become accustomed to the routine of section playing, the number of mistakes should have declined to very few, and there should be more skill at matching the bowstrokes, type of sound, dynamics, and general musical approach of their colleagues. Those who don't show significant improvement and growth along these lines are bad risks.

I have heard of a few orchestras where the orchestra committee meets with the new players at the beginning of each season and offers informal, non-threatening advice on what is expected of them, and the best ways to survive the pre-tenure period. I wish this practice would become more widespread.

This message has been edited. Last edited by: Feuermann,

Every orchestra and section has its only particular culture. It would serve you well to observe that and try to mimic it. For instance, does your section move around a lot? Or are they relatively still when they play? How do they communicate with each other? There is often a shorthand between stands - make sure you know what it is.

It goes without saying that the instant you realize your bow is going against the grain that you correct it immediately. In order to play with the rest of your section for cut offs, down beats, etc. hang onto your stand partner (assuming they are a good player) and go with them or eyeball the principal. Yes, it takes awhile to figure out where every orchestra places downbeats in reaction to the conductor. But you should really be getting it within a few weeks or series of concerts.

Make sure you are constantly aware of those around you - don't be a soloist, don't try and show others that you know best, and make sure you don't show off, even if you are a better player than those around you. No warming up loudly on concertos onstage or backstage. If you must, find a practice room. No one wants an obnoxious hotshot in the section. Hotshot yes, but know the proper time and place.

Being a great section string player is all about fitting into the group - adding to the sound and style with taste, but not drawing attention to yourself. Remember, this is a group that you are joining and it is your job to fit in, not to bring them around to your way of thinking.

And as Cecilia said, be the kind of stand partner that you would want to sit next to for the rest of your career.

yes sir

no sir

yes sir

you sound great sir

no it wasn't you, I think I was a bit high

yes sir

no sir

I can play that softer

yes sir

wow that really sounds great

etc

Aohiceyt, if you want to get tenure in our orchestra, there are very strict rules to follow.

Expressed as a fraction, the maximum number of wrong notes divided by the number of times you would kiss the conductor or section leader's a** to make up for these bad notes cannot be smaller than 2.

For example: You are playing Don Juan and you miss or play out of tune 9 notes. Horrendous! You might say to yourself, "I'm going to pack up my instrument after rehearsal and never come back, because I am sure they are going to fire me tomorrow."

Don't despair young person. You, as a classical musician, are proficient in the art of kissing A**. It is part of your genetic make-up!
So you will likely go and grovel before the conductor, making false promises of practicing more often, and maybe offering to play golf with your section principal.

But don't forget the formula. 9 false notes divided by 3 boot-licks is 3, so you are in the clear. But watch out, if that number is under 2, you will get quite the reputation as a glad-handing hypocrite and will be refused tenure.

The maximum # of bow strokes you are allowed to play OBVIOUSLY in the reverse direction from the others is 17. Play 18 bow strokes in the wrong direction, and you can book your ticket to the unemployment office baby. This has been tried and tested over the years, and the general consensus is that 17 is the maximum allowable number.

If you are a male, I suggest complimenting the female tenure committee members in the following way:

"Hey, you play OK for a girl".


Guaranteed tenure.

quote:

Originally posted by Cygnus:
If you are a male, I suggest complimenting the female tenure committee members in the following way:

"Hey, you play OK for a girl".


Guaranteed tenure.

Or its counterpart:

"You're pretty musical, for a boy."

Always treat the conductor with dignity and respect. If it is a female, always refer to her as "Kitten". They like that.

If it is a male, say something like "Wow, I am really impressed how you got through that Mahler symphony. I thought one had to be in good shape to be a conductor?"