String Section Archives

Protecting Your Instrument – Part Two
Mike Lawson | April 7, 2017
Expenses quickly accrue to levels not all musicians' families can manage; it is probably the most obvious of factors cited again and again by those who discontinue serious study.
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Protecting Your Instrument – Part One
Mike Lawson | March 20, 2017
Handling Your Instrument and Avoiding Accidents
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Orchestral Contracts – Preparing for Your World as a Self-Employed Musician
Mike Lawson | February 13, 2017
Editor’s Note: It’s often said by students that they don’t think they learn enough about the real world in school, like finding a job, contracts, taxes, and other important life skills. Jennifer once again delivers street level experience for your students on the path to a symphony career.
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How to Work Effectively with Your Fellow Musicians
Mike Lawson | December 13, 2016
Some ensembles have set seating throughout the season, with minor changes as unanticipated circumstances require. This means you will sit with the same person for the duration of the season. In such an environment, one learns the inherently unique quirks, postures, musicianship idiosyncrasies, stylistic identities, and preferences of the person you share a stand with.
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Orchestral Etiquette in the Professional Environment
Mike Lawson | November 11, 2016
Sheet Music – Preparing, Marking, and Performing: Responsibilities and Roles
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Orchestral Etiquette and the Professional Environment: Tuning
Mike Lawson | October 7, 2016
Tuning a violin/viola/cello/bass — is difficult! Most beginners have fine tuners to help them as they learn the art of tuning their strings. As one advances, usually the upper strings do away with fine tuners with the exception of the top string and you have to learn to deal with problems that arise that make tuning with the pegs frustrating, to say the least. There are instances where I find myself grumbling and in general complaining to my instrument as it does not respond as I need it to. To follow protocol for professional experiences is to assume that the musician has control over their instrument.
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