Symphonic music, with its extensive complexity and variety, is the outcome of skilled musicians collaborating to bring exquisite compositions to life. But behind the majesty of a symphony orchestra lie secrets and curiosities that often remain hidden from the public.
In this article, we delineate ten intriguing aspects that define this realm, ranging from the peculiarities of the instruments comprising the orchestra to the manner in which musicians communicate and collaborate during a performance. Each of these components not only enhances the musical encounter, but also reveals the dedication and skill required to achieve flawless harmony throughout every performance.
1) THE CONDUCTOR — How is it possible for a conductor to read all the notes of all the instruments simultaneously in a single score?
First of all, the conductor’s score summarizes all the parts of all the instruments in a single, huge score, which is usually at least twice the size of a normal A4 score. If it were printed on A4 paper for works with a large stave, the notes would look tiny. Which, by the way, would not be a problem for an experienced conductor.
In the full score you can see, staff by staff, in a certain order, first the woodwinds (flutes, oboes, clarinets, bassoons), then the brass (horns, trumpets, trombones, tuba), the percussion instruments, harp and piano, if present, then the percussion instruments, possibly the choral or soloist part and, if applicable, the soloist part, and finally the string instruments (violins, violas, cellos, and double basses), so that normally only one stave – one reading line – is possible per page.
It is possible to suppress the bars of paused instruments from the score, so that sometimes two or three staves can fit on one page. Regardless, the conductor has plenty of notes to read simultaneously.
Those of my readers who may have had some piano lessons will know how difficult it is to read chords with 3 or more notes for each hand, and in 2 different clefs. You start reading from the bottom up, one after the other, and – hallelujah! – once you have grasped the complete chord.
How does a conductor accomplish this task with a multitude of partially transposed instruments that sound in different keys than they are read, and with chords comprising perhaps 15 or more notes?
Reading the full score is certainly an art that requires a lot of practice and experience. In any case, it requires a general knowledge of all instruments and a farsighted reading.
Conductors are professionals who are trained to perform several tasks at the same time. The score is the least of their concerns as they have previously memorized it, segment by segment, and instrument by instrument. Upon their arrival in front of the orchestra, they can concentrate on musical inquiries, techniques, and particularly significant passages, based on the instruments, instrument groups, soloists, or other criteria, and above all, perform their primary responsibility of conducting. They consider the full score to be nothing more than a script.
It is evident that reading and conducting is a highly concentrated activity, which explains why conductors often finish concerts exhausted.
With the necessary harmonic and rhythmic knowledge, it is often not necessary to read all the notes individually, since it is known which note belongs to a certain key or which characteristics the individual bars or rhythms have. When a conductor conducts the score in advance, he obtains a comprehensive understanding of each section of the work and focuses on the instrumental groups that possess a specific rhythm, or on the entries of the instruments with the main melodies, on the dynamics, tempo, changes of rhythm, or other significant sections. When he conducts, he provides a general vision and analysis of the work, although in rehearsals, he breaks down each section to work on it with the orchestra and achieve the ideal interpretation.
Be that as it may, it’s incredibly admirable. I don’t think a conductor has to envy the precision of a brain surgeon.
To give you an idea, I am familiar with some music from piano, singing, flute, choral conducting, and music theory. However, I am unable to read the general score.
I get lost again and again. If it does become necessary, which happens occasionally, I have to prepare the full score in advance by marking the leading instruments, the leitmotifs, and all the necessary special features with different colors. I am able to more or less orient myself by means of arrows that facilitate reading. At least, I can then follow the orchestra in any case. But that’s all I can do. It’s a quantum leap from my starting point to the fluent reading of a full score, the quantum leap of orchestral conducting.
And if you were to now ask me to look up while conducting, to look at the orchestra, and move my hands, I would probably faint from sheer stress. This explains why I did not particularly enjoy conducting a choir.
2) DRUM INSTRUMENTS & THEIR SCORES – What do the percussionists’ scores actually look like?
The percussion section is not composed of one instrument, but consists of several instruments. We are all familiar with the timpani, xylophone, vibraphone, snare drum, tan tam, cymbals, tubular bells, triangle, castanets, and numerous other instruments.
Depending on the type of instrument, the score may contain conventional notes or other musical symbols. When percussion effects are beyond the melody, specific symbols or explicit indications must be used in the score.
In order to accomplish this objective, composers frequently employ legend in the composition. There are specific scores for each percussion instrument (e.g., Prokofiev) or unique scores for all instruments together (e.g., Shostakovich). The legend in the first case contains a symbol for crash cymbals or suspended cymbals, for example.
In the second scenario, each instrument is assigned an arbitrary note, for instance, A for the triangle and C for the cymbals. Therefore, it is not about the sound represented by A and C, but rather about the utilization of these two percussion instruments.
Please keep in mind that the notation for xylophones, vibraphones, marimbas, glockenspiels, etc. is the same as for the other instruments, as they all have notes of several octaves.
3) Drums & Timpani – And while we’re on the subject of percussionists: How is it possible that there are only four timpani? So there are only 4 notes?
Firstly, we should clarify that there are sets of 5 timpani, even though in our region only sets of 4 are often used. Whether two or more are used depends on the composer and the period in which the work was composed.
However, let us return to the question.
This question has been bothering me for a long time, and I don’t think I’m the only one. The timpani didn’t always sound the same at concerts, but I often only saw 4 drums at them. Furthermore, at concerts, you can always observe this seemingly strange behavior of the musicians from a distance, namely that the timpanists regularly bend down very low over their instrument and almost rest one cheek on the membrane, as if they wanted to hear something or communicate with it.
When I think about those moments today, I cannot help but smile.
Timpani are membranophonic instruments, which means that the sound is produced through a stretched membrane. This membrane, which can be constructed from leather or plastic, is referred to as the drum head. The tighter it is, the higher the sound is. The other way around, the looser the tension, the deeper the sound gets.
Thus, my observation was not entirely off the mark.
Timpani are tuned according to notes. With a set of four timpani that typically measure 32, 29, 26, and 23 inches, it is possible to produce only four tones simultaneously. Each timpani can be tuned within the range of a sixth, and a complete ensemble of timpani can produce notes of up to three octaves.
The timpani of a set are usually tuned in fifths, meaning that the distance from one note to another (from one drum to the next) is 5 in order to achieve an optimum sound. So far, so good.
What you can’t see from a distance is the tuning mechanism of the drums: the sharp tuning by foot pedal and the micro tuning by hand crank. Now, the gesture that I have consistently observed becomes logical: when the timpanist leans forward to verify the tuning of his instrument, he compares it with the rest of the orchestra, which serves as a point of reference.
In order to perceive all possible tones on a single drum, it is necessary to adjust the tension of the drum head using the pedal. The harder you press the pedal, the tighter the head becomes and the higher the tone sounds. It is a gradual rise and fall of the tone, as with a glissando, rather than a jump as with a well-tempered instrument.
If the membrane or drum head is made of an artificial material (common in British orchestras), say plastic, there are so-called ‘telltales’ to help the timpanist. These are markings on the drum head that indicate how much the membrane needs to be tightened or loosened to achieve a certain pitch. Natural material heads don’t allow for this. In the case of natural drum heads, the musician is required to control the sound by ear.
The most curious and complicated aspect of this story is the fact that the leather membranes, which are common in symphony orchestras in Spain or Germany, depend on temperature and humidity. They are affected by the temperature and humidity of the room in which they are installed. Thus, the position of the drum head is not always the same for every note.
Isn’t it intriguing?
4) THE STRINGS – How is it possible for all the strings in an orchestra to move their bows up and down at the same time?
This question also brings back a pleasant memory from my past.
Several years ago, I attended a concert presented by a renowned orchestra, whose identity I would prefer to conceal, and thoroughly enjoyed a program of classical-romantic compositions featuring numerous strings. I thoroughly enjoyed it.
Nonetheless, I was left with a peculiar aftertaste as, as a non-professional musician, I had the impression that the ensemble emanated a sound resembling that of a saw. I was unable to identify it, but it sounded a bit like saws cutting wood.
Rischi, ratschi. Ritschi, ritschi.
In the past, I would never have dared to criticize this orchestra, but nowadays, I wouldn’t expect anything like that from an elite orchestra. Never.
When I left the concert, I spoke with a musician friend and asked him about my observations. With all due respect. I was merely interested in understanding.
That was the moment when I was introduced to the movement of the bows for the first time. What I had heard was the result of a lack of pre-placing of the bows in the score. Since I didn’t know any better, I hadn’t realized visually that all the violins’ bows moved in their own way. Not only was the sound audible, but also apparent to the keen observer.
In order for all strings to sound equally, musicians must raise and lower their bows at the same time and in the same way, using the same areas of the bow (more with the tip, closer to the bridge) and with the same local position. The speed of the movement is also particularly important, i.e., how many notes are played with an upward or downward movement. Additionally, the weight with which the bow moves on the strings can also vary. This sounds complicated due to the numerous violins and violas involved.
This example will help you understand it better. Surely, everyone knows what a bellows is. Imagine 15 people using the bellows at once. All 15 people must move the two parts of the bellows in the same way, so they all blow the same amount of air with the same intensity and in the same direction. The same applies to the bows of string instruments.
This is the reason some say that violins, violas, cellos, etc. are bow instruments rather than string instruments. A guitar is also a stringed instrument, but it does not use a bow and does not face the complications described here.
To ensure the desired uniformity of sound in an orchestra, annotations are used in the score, predefined by the soloist of each group. The archivists of an orchestra bear the responsibility of incorporating this information into the scores of the entire ensemble. A symbol that bears resemblance to a V signifies that the bow moves from the bottom to the top, whereas a symbol that bears resemblance to a small n signifies the opposite, indicating that the bow moves from the top to the bottom. The frequency of symbols along the staff determines the speed of movement. Below is an example.
Eventually, in agreement with the conductor, who marks the entries and coordinates the interplay, a single, unified sound is suddenly produced by everyone as if by magic.
Consequently, the musical saw that I once heard was eliminated.
Please don’t tell me that’s not fascinating.
5) THE PEDALS OF THE HARP – Why does a harp have 7 pedals when a piano only has 3, but many more strings?
And here we continue with curiosities that strike the viewer, who is not familiar with the secrets of an orchestra and only observes from the outside.
Let’s say Pedro is watching a harp and a piano. And suddenly, he realizes that the harp has similar pedals to that of the piano. He’s intrigued by the fact that the harp has fewer strings than the piano, but more pedals.
Actually, the harp has 47 strings (pitches) with 7 pedals, and the piano has 88 pitches (usually with several strings) with only 3 pedals.
Even though the pedals look similar, does that make sense?
Indeed, it makes perfect sense, as the function of the pedals is entirely distinct in both instances. The pedals on the harp broaden the range, while the piano’s pitches sound different.
Let’s take a closer look at this: The grand or concert piano (vertical pianos are slightly different) has 3 pedals.
- The damper pedal is located on the left hand side to reduce the volume of the sound.
- The resonance pedal (right) is used to maintain the sound vibration.,
- In the center is the chord pedal, which is rarely utilized and only imparts resonance to the chord being played when pressed.
However, the seven pedals of the harp have an entirely different purpose. They modulate the seven octave tones of the harp strings, according to which they are tuned, by one semitone each. Each pedal’s mechanism can be operated twice, i.e., two semitones for each string or note.
A string tuned to C can therefore be raised to C sharp and D with a pedal. The harp pedals therefore extend the range of the instrument, but have nothing to do with the dynamics or the volume of the sound.
Pedro, do you understand?
6) HANDMADE OBOE REEDS – Did you know that oboists do not buy their mouthpieces or reeds, but make them themselves?
A Google search shows that you can buy oboe mouthpieces. But those who are truly self-respectful make their own reeds. Indeed, it is difficult to comprehend.
The mouthpiece of the oboe is constructed from a rectangular wooden disc, commonly referred to as the spade, which is bent in the middle. After being bent, it is secured to a brass tube encased in cork by means of a nylon thread. This portion is referred to as a tudel in Spanish. According to my research, the word simply means tube or lead pipe in English. But I would be happy to be enlightened if anyone knows better.
Professional oboists have to do a lot of extra work because these assembled parts only last a very short time, 6 to 12 weeks at best, as they are highly susceptible to changes in weather and humidity.
We are talking about craftsmanship here, which requires great skill and a painstaking process to get the result to sound. The reed logically has a direct influence on the tuning of the instrument. The oboe is, by itself, one of the most difficult instruments to produce a sound from. The reason for this is due to the oboe reed.
It is understandable that beginners do not make their own reeds, but experts do. You usually find them in a small box containing several reeds of different hardness and types.
Considering the sophistication of contemporary instruments, it is remarkable that handmade components are still utilized.
7. THE PIANIST’S HANDS AND READING NOTES – Does a pianist always use all 10 fingers, even when playing very fast? Can he constantly read so many notes at the same time?
A pianist rarely uses all 10 fingers at the same time. That would be quite awkward, but I’m not a pianist. On average, you’re using between 6 and 8 fingers at once. So much for my piano lessons.
Regarding the pianist reading music, we can refer to what was said in Curiosity No. 1 with the conductor. The situation bears some resemblance. But only slightly.
The score is either written directly for piano or it is a piano reduction, depending on the case. Piano reduction, or piano score, is a special score that transforms a work for orchestra into a summary of only two staves and max. 10 fingers.
However, the pianist does not always have to read note for note, finger after finger. Similar to a conductor, he concentrates on the main pitches of the key, the leitmotif, or other important details. Muscle memory helps him find the right keys without thinking about it.
Solo pianists usually know the concertos by heart, and repertoire pianists synthesize the harmonies from the piano score. To accomplish this, they begin by practicing various parts or the two hands separately, before combining everything.
Personally, this reminds me a little of what we call photographic memory. It is not necessary to read a chord note by note because the chord is perceived as a whole, as an image, so to speak. However, this requires a great deal of concentration, memorization, muscle memory, and extensive practice.
Yes, and if Mr. Rachmaninov asks you to use 10 fingers at once, or Mr. Liszt asks you to stretch out one finger so far that it covers the maximum conceivable vocal range, then you simply have to go through it and practice a lot.
A lot. This is the essence of being a musician.
8) THE SIZES OF THE INSTRUMENTS – If the strings always come in four sizes (violin, viola, cello, and double bass), are there also four sizes for the other instruments? For example, are there four sizes for flutes, clarinets, etc.?
Undoubtedly, there are, ladies and gentlemen. Although not always used, there are not only string instruments in different sizes and tunings.
Flutes, oboes, bassoons, horns, and trombones, among others, are also readily available as soprano, alto, tenor, and bass instruments. In certain instances, the name may alter in accordance with the pitch. For example, the alto oboe is known as the English horn, the alto-soprano clarinet is called the requinto, and the alto clarinet is known as the basset horn.
However, there exist numerous additional instances.
Yet, I am presenting only three of them as photographs:
9) THE BIGGEST ORCHESTRA IN HISTORY – Not all the musicians in an orchestra play in every program: which is the biggest orchestra that has ever existed?
The number of musicians performing on stage has steadily increased throughout the history of music. A baroque orchestra comprising approximately 35 to 55 musicians is distinct from a classical orchestra comprising approximately 85 to 95 musicians, a romantic orchestra that resembles classical music, or a contemporary orchestra comprising approximately 100 musicians.
Mahler’s 8th Symphony is considered to be the work with the most musicians on stage at the same time: 118 musicians, two large mixed choirs, a male children’s choir, and 8 vocal soloists are required.
The composer’s peers referred to this symphony as the ‘Symphony of a Thousand’ because he wanted to push the sound capabilities of his time to their limits with so many musicians.
Although I am not a musician, I would assert that Schoenberg’s Gurre-Lieder, which features 140 musicians, gathers an even greater number of individuals around the same conductor.
But I’m not interested in assuming anything that doesn’t belong to me. We leave the ‘bigger, faster, further’ to the car industry.
However, it is possible to have astonishing numbers of people all playing and breathing together, all in the same beat.
10) THE CLOSED EYES OF THE MUSICIANS – How is it possible for some musicians, especially soloists, to play in an orchestra with their eyes closed and not cause chaos in the tempo of the ensemble?
Under the final point for today, we discuss a curiosity that is somewhat less technical, yet nevertheless more intimate and personal. Musicians’ eyes shut.
Yes, yes. I know we have already discussed reading scores and tuning questions, all of which require the assistance of the visual sense. Yet, we frequently observe artists on stage with their eyes closed. It is great that they are enjoying their performance, but aren’t they hindering the entire ensemble with this attitude?
No, please relax. They don’t. At least not if they’re not aware of what they’re doing.
First of all, there is always a prior agreement on tempo and rhythm. If it is not directly specified in the score, it will be determined by the conductor. What is more, an experienced musician has developed an extraordinary sensitivity, a precise inner pulse, and he doesn’t hinder anyone when he closes his eyes for a moment.
On the contrary, there is not only communication between the orchestra and the conductor, but also between the musicians themselves, who communicate with each other through micro-gestures, eye contact, and glances, and even through body movements, so that a ‘lost’ cue is made up for in milliseconds.
Ultimately, it is a combination of prior knowledge and various methods of communication that allows the musician to close their eyes for a while.
Personally, I enjoy exploring and experiencing these micro-gestures and communication between colleagues at a concert.
When you have the opportunity, please pay close attention!
Nicole Martín Medina
Las Palmas de Gran Canaria
Dicember 2024
(Original Spanish, English Translation Deepl, Revision NMM)
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The article is also available in:
SPANISH (original): https://nicolemartinmedina.com/10-secretos-orquesta-sinfonica/
GERMAN:https://nicolemartinmedina.com/de/10-geheimnisse-symphonieorchesters/
For this article, I have sought the assistance of the following musicians and colleagues from the Gran Canaria Philharmonic Orchestra. I greatly appreciate their critical remarks and stories.
I thank them all very much!
Humberto Armas – Violin II Soloist OFGC
Verónica Cruz – English Horn soloist OFGC
Luis Montesdeocca – Director of the OFGC-Archive, Orchestra Director & Violin
Paco Navarro – Timpanist OFGC
Nauzet Mederos – Pianist and accompanist of the OFGC-choir
