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International Trumpet Guild Journal

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Stage Deportment Frank G. Campos, Clinic Editor (Dec95)
December, 1995 / ITG Journal 71 1995 International Trumpet Guild
Stage Deportment
A trumpeter saunters across the stage, turns his
back to the audience, and proceeds to play something
like a cadenza in response to the accompanists tun-
ing note. As the sloppily dressed musician begins to
play his selection, he makes sure the audience knows
he is unhappy with his performance through gri-
maces and rolling his eyes in mock disbelief. Upon
finishing, he storms off the stage with a look of dis-
gust on his face, ignoring both his audience and ac-
companist.
Although this may sound like a comedy routine to
some of us, we must realize that many young per-
formers have had little or no instruction in stage
deportment and regularly commit many of these er-
rors without knowing better. Students would benefit
from learning and practicing good stage manners
early in their performing careers, and the following
suggestions are given toward that end.
1. Dress neatly and appropriately for the event,
and make sure that your accompanist and other col-
laborators know what to wear. It is a good idea to
wear your concert clothes for the dress rehearsal.
The day of the performance is not the time to wear
new shoes.
2. Move quickly to your position on the stage,
acknowledging the audience on the way if you wish.
When you stop, wait for your accompanist to arrive
at his/her position before bowing together. If you are
the soloist with a group, precede the conductor after
the group is in place.
3. Do not be afraid to look at the audience. Every
performers personality is different some project
friendliness, others calm confidence, others dignity
but regardless of your style, it is important to greet
the audience with your eyes both before and after the
bow.
4. The bow is also a matter of taste and style, and
watching seasoned performers will give you ideas. I
look out into the hall with a pleasant expression,
then bow from the waist with my instrument held
diagonally across my chest with my right hand. My
left hand holds the bell of the horn or is kept loosely
against my side. Do not allow your left arm to hang
and swing like a dead appendage as you bow. The
depth of the bow also varies, but average is about a
45-degree angle. Don't look at the audience as you
bow.
5. After you and the audience have performed this
ceremony of greeting, tune up quickly and quietly
with the pitch you have agreed upon with your ac-
companist. Pause for a moment to allow the audience
to settle and to compose yourself. This will also serve
to frame the music in silence, and should take no
longer than a few seconds. (Some performers believe
that tuning up can dissipate some of the energy or
excitement generated by your entrance, so tune up
before the concert for a more dramatic beginning.)
6. Maintain a balanced, calm demeanor through-
out the performance. Do not display negative emo-
tions with your body or facial expressions, as this will
only cause your listeners to focus their attention on
your problems rather than enjoying the music.
7. Pause for a moment as the last note fades away,
then look to your audience, giving them the signal to
applaud. Bow, look back at your audience, acknowl-
edge your accompanist or collaborators, nod again,
then move quickly off the stage. Dont wait too long to
decide if a second bow is warranted.
8. It is generally agreed that an accompanist should
bow at the same time as the soloist on sonatas or
other pieces written specifically for the collaborating
instrument and soloist. With concertos and other simi-
lar works, the accompanist should bow after the solo-
ist when acknowledged by the soloist. (If in doubt,
just have the accompanist bow with you.) The soloist
always takes the first bow alone when performing
with groups.
9. As difficult as this may be, dont make excuses
for a poor performance. Accept compliments politely
and graciously, allowing your listeners to express
their thanks to you. Expressing negative feelings can
leave your listeners wondering if they really should
have enjoyed the performance after all!
The foregoing suggestions may serve as a guide to
young performers, but imitation of a polished artist
is the best teacher, and students should be encour-
aged to take notice of the fine points of presentation
whenever an opportunity arises to observe a live
performance.
FRANK G. CAMPOS, EDITOR
Members interested in contributing to Clinic should write to: Frank Campos, School of Music, Ithaca College, Ithaca, NY 14850 USA.
E-mail to Frank G. Campos at: campos@ithaca.edu or trptprof@aol.com