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Solo/chamber stage etiquette for first-year music majors

ByBret Pimentel

Here’s what I teach my first-year music majors as they are preparing for their first public performance of solo or chamber repertoire. Customs may vary in your area.

photo, Converse College
photo, Converse College
  • Dress professionally and comfortably. Formalwear/eveningwear is overkill and a distraction for most music major recital performances. I like to wear a necktie and preferably also a jacket, but something of roughly equivalent dressiness also works (slacks/skirt and a nice top are another example).
  • Enter the stage by walking swiftly and confidently. Stop just short of the music stand, so that it isn’t between you and the audience (at least not yet).
  • Before you do anything else, acknowledge your audience with a bow. (If you are on stage with collaborative musicians, wait for them to get into position so you can all bow together. Whoever is standing closest to the front should start the bow as soon as everybody is ready.) To bow: bend at the waist, look at your shoes for a second, then straighten back up. Keep both hands either on your instrument or at your sides. Don’t curtsy. Don’t shrug or roll your eyes or pull faces. (I suggest practicing your bow a little before your performance. Maybe take smartphone video so you can see if you are doing something weird.)
  • After bowing, make any last-minute arrangements or adjustments: arranging sheet music, checking reeds, etc.
  • If you are taking a tuning note on stage, turn to whoever is providing the pitch. Mostly listen, then play briefly, adjust, and if needed play one more time (briefly!) to be sure. Don’t play a long tuning note, like you’re trying to convince yourself that you’re right. If you’re uncertain about your ability to tune accurately on stage, you can tune to a tuner or other reference before going on stage, and use the onstage tuning as a chance to just play a note before you begin the performance.
  • During the performance, don’t make faces or gestures in response to mistakes. It calls unnecessary attention to what probably are barely-noticeable glitches, and takes you and your audience out of the moment.
  • As you and/or your collaborators play the last note of each movement or piece, freeze in place. Hold your position until the last note finishes reverberating in the performance space, then another second or two.
  • If you just finished a complete musical work (not just one movement of the larger work you are performing), you can bring your instrument down into a carrying position, look out into the audience, and smile to signal that the piece is complete. They should start to applaud at this point.
  • Leave the stage quickly. Don’t be caught still on stage when the applause ends. In some situations you can leave your sheet music behind to be retrieved later.
  • In some cases the audience will continue to applaud enthusiastically after you leave the stage. If you like, you can return to the stage for another bow and then leave quickly again. Sometimes the audience doesn’t bring you back for another bow—don’t take that personally.

Break a leg!

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