We all know that a symphony orchestra is an organization with a strict hierarchy in which a musical director leads the musicians in such a way that the music maintains cohesion and life and evokes our deepest feelings. In most cases, we can say that an orchestra is not exactly an example of a democratic structure but rather a system with rigid rules and norms.

The symphony orchestra’s seating arrangement is the foundation for the smooth operation of this system, down to the smallest details, when it steps onto the stage or into the orchestra pit. It is noteworthy that the placement of the musicians and their instruments is not based on a hierarchy of importance or notions of superiority and subordination, but rather on spatial constraints and rationales of tonal logic. Naturally, the musicians are not provided the opportunity to select their position independently; it is predetermined and determined by the composition to be performed.

In the 18th century, an orchestra consisted of about 40 instrumentalists. Over the centuries, however, orchestras have evolved. In the 19th century, there were 60 instruments, and by the 20th century, there were up to 110.

At first, orchestras were solely comprised of strings, a few woodwinds, and percussion. As the development of wind instruments and percussion progressed, their size and volume increased. Eventually, the flutes transitioned from the woodwinds to the brass, and as a result, their volume increased, too. Gradually, the incorporation of instruments such as trumpets, which have their origins in military music, took place. In order to maintain the overall tonal balance, the number of strings had to be increased automatically.

The number of musicians per section and/or string group is determined by the composition and is influenced by the musical score or the conductor. Initially, the determination of the number of string instruments is made, typically 14/12/10/8/6. This determines whether there should be 12 or 14 violins, and then two are always subtracted for the other strings, namely violins II, violas, cellos, and basses. Then, the number of wind players is determined, usually a pair or two in each group. Lastly, the percussionists are added.

All of them must be correctly positioned within the orchestra, which in practice forms a large semicircle.

Today’s orchestra requires the integration of up to a hundred musical devices and performers with varying amplitude and pitch. Is that something that is so complicated? Yes, it is.

If one were to imagine a vast mixing console containing numerous controls, it is evident that meticulous placement of each chair and music stand, coupled with a thorough understanding of acoustics, classical music, and technical concerns, is of utmost importance. Moreover, a symphony orchestra is not typically amplified or technologically enhanced, nor does it employ a mixing console.

In a simplified form, it can be stated that the instruments with greater sonically sensitive characteristics are situated further forward, in close proximity to the conductor, whereas the instruments with piercingly loud characteristics are situated at the rear.

In addition to this, it is important that the conductor remain visible to everyone and that everyone can hear each other well.

If only it were that simple!

Unfortunately, it is not that simple. There is a science behind the arrangement of an orchestra.

A spectator is presented with a semicircle or a kind of semicircle of chairs, musicians, and instruments made up of several rings or rows. In these rings, or rows, the musicians are arranged in sectors or rows. Gaetano Donizetti, an Italian composer, introduced the idea of arranging musicians in sections around a semicircle in the 19th century. The French composer Hector Berlioz altered the arrangement of the instruments to enhance their harmony.

It is important to consider a biological fact: it turns out that our two ears do not process sounds the same way. Each ear amplifies certain sounds better than others and sends their vibrations to the appropriate part of the brain for processing.

It can be asserted that the right ear is more adept at processing musical sounds, whereas the left ear is more adept at processing speech sounds. In a similar manner, our right ear exhibits greater sensitivity to high-pitched sounds compared to our left ear. When we hear two sets of sounds, each for one ear, we have the impression that the high tones are reproduced in the right ear and the low tones are reproduced in the left ear.

Is that something that makes you curious?

If you have any doubts, you can listen to the following video by Diana Deutsch, who has done several studies with auditory illusions that prove this pattern and the fact that musicians on stage usually hear high notes more from the right side. She mentions an advantage of the right ear.