# How about . . .



## MarkW (Feb 16, 2015)

[I suppose we need a new section -- How Do Orchestras Work? -- but these are questions I've never thought to ask anyone before. ]

How about places (Mahler does it a lot) where within a phrase, the thread gets serially passed to three or four different instruments or groups (say flutes and clarinets to violas to horns, etc.). How do you get it to sound seamless? Is there a chamber ensemble-like pride among sections? Or does the conductor do a lot of gentle suasion -- or yelling? . . .


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## Axter (Jan 15, 2020)

Enter Herbert von Karajan


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## Heck148 (Oct 27, 2016)

MarkW said:


> [I suppose we need a new section -- How Do Orchestras Work? -- but these are questions I've never thought to ask anyone before. ]
> 
> How about places (Mahler does it a lot) where within a phrase, the thread gets serially passed to three or four different instruments or groups (say flutes and clarinets to violas to horns, etc.). How do you get it to sound seamless?


Rhythmic accuracy, alertness, and chamber music-like awareness of the musical flow...Reiner absolutely excelled at this



> Is there a chamber ensemble-like pride among sections?


Yes, a chamber music approach is vitally important...within, and between sections.



> Or does the conductor do a lot of gentle suasion -- or yelling? . . .


Both!! lol!! really, the conductor must lay down a very clear beat, with the subdivision clearly established....he/she must insist that sections listen to each other, and be accurate and rhythmically correct with their entrances, and releases.


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