Why Student Concert Bands and String Orchestras Don't Play Together
Introduction In the world of school music programs, whether formal classrooms such as in public or private schools, or in homeschool groups, two distinct ensembles often take center stage: concert bands and string orchestras. These groups are the backbone of many educational institutions' music curricula, helping students develop essential musical skills. However, despite their shared goal of nurturing young musicians, concert bands and string orchestras rarely come together to perform. In this article, we will delve into the reasons behind this separation and explore the unique qualities that make each ensemble an essential component of a comprehensive music education.
The cover photo for this article is an extreme rarity in any school setting. It is a full orchestra made up of high school students. You’ll notice that it isn’t very large, although the musicians are very likely more skilled than most people their age. Here’s a few reasons why it’s an unusual photo.
Historical Origins To understand why concert bands and string orchestras usually operate independently, it's essential to consider their historical origins. The modern concert band has its roots in military bands, dating back to the 18th century. These ensembles were designed to provide music for marching troops and often consisted of brass and woodwind instruments.
On the other hand, string orchestras trace their lineage to chamber music traditions, where string instruments like violins, violas, cellos, and basses took center stage. These smaller ensembles were designed for more intimate settings, like music rooms in homes and royal courts.
The Divergence in Instrumentation
One of the primary reasons concert bands and string orchestras don't often play together lies in their fundamental differences in instrumentation. Concert bands typically include brass, woodwind, and percussion instruments. This diverse collection of instruments allows for a broad tonal palette and a wide range of musical expression, from the powerful blasts of a trumpet to the lyrical melodies of a clarinet.
String orchestras, on the other hand, focus exclusively on stringed instruments. While strings offer a rich and nuanced sound, they lack the percussive and harmonic possibilities of wind and brass instruments. Attempting to combine these disparate elements can result in a muddled or unbalanced sound.
Difference in Playable Keys
This reason is based on the first two. The different types of instruments, winds and strings, each have a “tuning base”. Wind instruments each have a fundamental tone which is the absolute lowest note that they can play. All of the other notes are built on this fundamental note.
Brass players can play a wide range of notes without using either valves or a slide to change notes. This is done by adding just a bit more air pressure to the lips and tightening the embouchure (the way the player holds the mouth) just a bit. Each of those “open” (no valves pressed) or first position notes can be lowered by half steps so that all of the chromatic notes can be played. This whole method dictates which valves should be depressed or where the slide should be placed. The ease or difficulty of each key is determined by these placements.
Woodwind instruments are much the same. There is a fundamental tone which is played with all of the holes in the instrument covered, either by fingers or pads. However, while brass instruments modify the length of the tube being used in the instrument by adding to it, woodwinds shorten the length of the tube by opening the available holes in it. And, although it seems that it should be a straightforward process to simply keep uncovering holes to play each successively higher note, there are some times when holes have to be “skipped” in order for the instrument to play in tune. Because of that, some fingerings on woodwinds can be complicated, especially for rarely played notes.
String instruments, on the other hand, have four (generally) strings tuned in fourths, as in the case of a double bass, or in fifths, as in the case of violins, violas and cellos. Like brass and woodwinds, each string has a lowest possible note that can be played. The biggest difference is in the chosen tuning of each instrument. String instrument tunings are not based on the natural intervals of the overtone series, but rather on a system that allows for the most notes to be played the easiest on each instrument.
Because of all of that, students learning to play in a concert band often begin playing in concert Bb, a very natural and easy key for most wind instruments. String instrument players find that key very hard and will often begin in the key of D. Beginning string players will often have tapes on their instruments. Those spots mark the finger positions for notes in diatonic scales in sharp keys, primarily G, D and, for slightly more advanced stunts, the key of A.
The key of C may seem like a good compromise, since it has no sharps or flats. However, it actually involves more complicated fingerings and positions for stringed and wind instruments alike. For string players, having learned the F# fingering position, which will have been present in virtually all of the music they had learned so far, switching to the F natural position will be clumsy. Trumpet players would have to play in the key of D, which can get very clumsy to finger, especially in the lower registers. Trombone players would need to reach 6th and 7th positions, which can be difficult, especially for beginning players with shorter arms. Likewise, woodwind players would need to use a few awkward fingerings to play in that key, although it is much more do-able for them.
Pedagogical Considerations
Another critical factor is pedagogy. Music educators often specialize in either orchestral or band instruction, as the two require distinct sets of skills and knowledge. Teaching brass and woodwind instruments differs significantly from instructing string instruments. Even among band teachers, some are much better at either brass or woodwind instruments. This is different from a professional orchestral conductor, who can expect that each instrumentalist knows how to play his or her instrument to near perfection.
Moreover, students' early experiences in music education are crucial for their long-term development. Learning to master a single type of instrument, whether it's a violin or a trumpet, demands focused attention and practice. Attempting to simultaneously teach both strings and winds in one ensemble can lead to a diluted educational experience, as students may not receive the specialized guidance they need to excel.
Repertoire and Musical Styles
The repertoire for concert bands and string orchestras also differs substantially. Concert bands excel in performing marches, overtures, and modified symphonic works, where the full range of winds and brass can be showcased. String orchestras, on the other hand, shine in the execution of chamber music, classical symphonies, and works that emphasize the unique characteristics of strings, including their warmth, expressiveness and, occasionally, avant-garde sounds. While there are arrangements that attempt to blend the two, they often involve significant compromises.
Additionally, various musical styles, such as jazz and contemporary pop, are better suited to concert bands due to their instrumentation and rhythmic demands. Concert bands have the privilege of having percussion of all sorts with which to emphasize any rhythmic ideas in the music. String orchestras, conversely, find their niche in styles that seem more classical and romantic, and have to convey any severe rhythms with performance devices like staccato, détaché, or martelé.
One of the big issues with integrating strings and band is that in most orchestra music, the winds often get significant amounts of rests. Professional musicians are more adept at counting extremely long rest periods. However, many middle and high school students can get lost in the middle of such rest periods, which can lead to missed or early entrances and any juvenile humor perceived from them. They can also become bored and disconnected from the music if they aren’t engaged in playing it. An attitude common among teenage players is that they came to play, noy hang out while others get to play. They can tolerate a short number of rests, but too much time spent not playing can sometimes result in behavior issues.
The Balance Would Not be Right
In some symphonic works, the instrumentation may call for sixty string players, twelve wind and brass players and a set of timpani. In most high school concert bands, which usually double as the marching band, there are far too many wind instruments in comparison with the relatively few string instrument students in the string orchestra.
Even if the two groups were combined, most less experienced wind players would not be able to play quietly enough so as not to overpower the strings players.
The music could be arranged so that some of the woodwinds would play the string parts, but, if done legally, would require permission form the composer if the piece was still under copyright, as well as the time for the director to do the arrangement, or the money to pay a professional arranger to do the work. In most instances, this would be virtually impossible, especially if a great number of pieces had to be re-written. This would be the case if the mixed group was a stranding class. It may be possible if the combined ensemble was a one-time event.
Logistical Challenges
Logistics also play a role in the separation of these ensembles. Acquiring and maintaining instruments can be costly for schools, and combining both wind and string instruments in one ensemble would require a more extensive investment. Most schools don't have a room large enough to fit a full orchestra. The wind orchestra and string orchestra separately can fill up the rehearsal rooms and the stage. Furthermore, rehearsal and performance spaces must be acoustically suited to the specific needs of each ensemble, which can be challenging in schools with limited resources.
Alternate Options
There are a few alternatives, especially if a school or other group wants to have and/or teach a full orchestra. These would be good only for larger schools or groups.
If the concert band is also the marching band, it would continue as usual for the first semester. The string ensemble would also continue as usual for the first semester.
For the second semester, some of the more skillful wind players and percussionists would join the string players to form a true orchestra. Not all of the more highly skilled wind players could switch; that would leave a very weak concert band. This could give those wind and percussion players who might like to play in a symphony the opportunity to see if it’s a good “fit” for them.
Another option, also during second semester, might be to form some smaller wind ensembles such as jazz band (including New Orleans, Bebop and Swing), woodwind or brass quintets, or even a chamber wind ensemble. This would leave the orchestra with just the right number of wind and percussion instruments. This option would have to be carefully orchestrated (pun intended) so as not to leave any ensemble short on an instrument that they need.
Conclusion
While concert bands and string orchestras share the overarching goal of fostering musical growth in students, their historical roots, instrumentation, pedagogical requirements, repertoire, and logistical challenges have led to their separation in most school settings. Rather than viewing this separation as a limitation, it's essential to recognize the unique strengths and opportunities each ensemble offers. By doing so, schools can provide comprehensive music education that allows students to explore and appreciate the distinct qualities of both concert bands and string orchestras. This separation ultimately contributes to the rich tapestry of musical diversity in educational institutions, allowing young musicians to develop a broad range of skills and experiences that will serve them well on their musical journeys.
Salt Cellar Creations understands the need to have separate string and wind ensembles. To provide for each, SCC has a growing library of original works and arrangements. Explore the offerings HERE.
SCC can also compose an original piece for you or do a custom arrangement for you. There are two ways that this can be done; one is much more affordable than the other. And SCC is always looking for ideas of pieces to arrange or suggestions for original pieces. We have written and arranged music for groups not only in the US but also in Canada, the United Kingdom, France, Australia, New Zealand, and Austria. Please CONTACT US to let us know what we can do for you!