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A Contemporary Guide to the Orchestra!
March 25, 2007 | 4:37 pm

Learn about the orchestra - violinist style!!!!!!!! (*Updated*)

An Introduction to the Orchestra

The members of the orchestra are divided into four sections. These are woodwinds, the strings, the brass, and the percussion. There's also someone standing in front of all these other folks playing no instrument at all. This would be the conductor. It is generally required that the conductor is required to make musical decisions and to hold all of the instruments together in a cohesive interpretation of any given work. Not so. Rather, the conductor is necessary because the four groups would rather eat dirt than have anything to do with someone from another section. And, as we know, musicians are quite serious about their food.

Why all the animosity? Before I begin my explanation, let me set the record straight in plain English about some of the characteristics which typify the four groups.

Woodwind players have IQs in the low- to mid- genius range. Nerds with coke-bottle glasses and big egos, blowers tend to be extremely quiet, cowering behind bizarre-looking contraptions -- their instruments -- so nobody will notice them. It is often difficult to discern whether a wind player is male or female.

String players are neurotic prima donnas who won't even shake your hand for fear of permanent injury. A string player will never look you directly in the eye and they never bathe carefully ... or often.

Brass players are loud-mouthed drunkards who bully everyone with the possible and occasional exception of a stray percussionist. They like to slick their hair back. Nobody knows why.

Percussionists are insensitive oafs who constantly make tasteless jokes at the expense of the strings and woodwinds. They look very good in concert attire but have the worst table manners of all musicians. They are always male, or close enough. Female percussionists have slightly better table manners and actually watch the conductor. Good for them.

Now, is it any wonder orchestra members have little to do with anyone outside of their own section? For the answer to this and other pertinent questions we will need to examine the individual instrument and the respective -- if not respected -- players within each section.

Woodwinds

Oboe players are seriously nuts. They usually develop brain tumors from the extreme air pressure built up over the years of playing this rather silly instrument. Oboists suffer from a serious Santa Claus complex, spending all their waking hours carving little wooden toys for imaginary children, although they will tell you they are putting the finishing touches on the world's greatest reed. Oboists can't drive and always wear clothes one size too small. They all wear berets and have special eating requirements which are endlessly annoying and which are intended to make them seem somewhat special.

English horn players are losers although they dress better then oboists. They cry at the drop of a beret.

Bassoon players are downright sinister. They are your worst enemy, but they come on so sweet that it's really hard to catch them at their game. Here's an instrument that's better seen than heard. Bassoon players like to give the impression that theirs is a very hard instrument to play, but the truth is that the bassoon only plays one or two notes per piece and is therefore only heard for a minute in any given evening. However, in order to keep their jobs -- their only real concern -- they act up a storm doing their very best to look busy.

It takes more brawn, and slightly less brain, to play contrabassoon. They are available at pawnshops in large numbers -- the instruments as well as the players -- and play the same three or four numbers as the tuba, although not quite as loud or beautiful.

Okay, now we come to the flute. Over-sexed and undernourished is the ticket here. The flute player has no easier time of getting along with the rest of the orchestra than anyone else, but that won't stop them from sleeping with everyone. Man and woman alike, makes no difference. The bass flute is not even worth mentioning. Piccolos, on the other hand, belong mainly on the fifty yard line of a football field where the unfortunate audience can maintain a safe distance.

The clarinet is, without a doubt, the easiest of all orchestral instruments to play. Clarinets are cheap, and the reeds are literally a dime a dozen. Clarinetists have lots of time and money for the finest wines, oriental rugs, and exotic sports cars. They mostly have no education, interest, or talent in music, but fortunately for them they don't need much. Clarinets come in various sizes and keys -- nobody knows why. Don't ask a clarinetist for a loan, as they are stingy and mean. Some of the more talented clarinets can learn to play the saxophone. Big deal.

While we're on the subject, let's talk about the sax. It's rarely in the orchestra, but when it is, they are always with the clarinets. Saxophonists are slightly more polite than clarient players, however, they are known to blast out jazz imporvistations whenever possible in rehearsal.

Let's continue now with the real truth about ... the strings:

We begin with the string family's smallest member: the violin. The violin is a high-pitched, high-tension instrument. It's not an easy instrument to play. It's even harder to sample. Lots of hard music is written for this instrument. Violinists are usually thin, with an airless, wispy air to them. They are known to show off, have big egos, and tell viola jokes whenever possible.

The viola is a large and awkward instrument, which when played, sounds downright disgusting. Violists are the most insecure members of the string section. Nothing can be done about this. Violists don't like to be made fun of and therefore find ways of making people feel sorry for them. They were shabby clothes so that they'll look as if they've just been dragged under a train. It works quite well.

People who play the cello are simply not good looking. They have generally chosen their instrument because, while in use, the cello hides 80% of its player's considerable bulk. Most cellists are in analysis which won't end until they can play a scale in tune or, in other words, never. Cellists wear sensible shoes and always bring their own lunch.

Double bass players are almost completely harmless. Most have worked their way up through the ranks of a large moving company and are happy to have a secure job in a symphony orchestra or anywhere. The fact that it takes at least ten basses to make an audible sound tends to make these simple-minded folks disappear into their woodwork, but why do they drive such small cars?

Harpists are gorgeous. And they always know it. They often look good into their late eighties. Although rare as hen's teeth, male harpists are equally handsome. Harpists spend their time perfecting their eye-batting, little-lost-lamb look so they can snare unsuspecting wind layers into carrying their heavy gilded furniture around. Debussy was right - harpists spend half their life tuning and the other half playing out of tune.

Classical guitar players are very rare. Only showing up in a Vivaldi Guitar Concerto and not much else, they look like a violinist but play like a rock star. Don't trust them with your money or your lunch. They always are "indirectly complaining" about the tempo, the weather, or the second violinist giving him/her a dirty look.

Pianists in the symphony orchestra work the least and complain the most. They have unusually large egos and, because they can only play seated, also have the biggest butts. They hang around with the big-ego'd violinists and occasionally the harpist. When they make mistakes, which is more often than not, their excuse is that they have never played on that particular piano before. Oh, the poor darlings.