Orchestra Question

[Bob Clark]

I pose this question to people who play in mandolin orchestras.

In another year, I should be able to arrange my work schedule to allow me time to play in a mandolin orchestra. I currently split my practice time between my mandolin and my short-scale OM (GDAE mandola), with more emphasis on the mandolin. I am taking lessons with a classical mandolin instructor who prefers that I stick with the mandolin. I do read music.

In preparation for playing in an orchestra, though, would you recommend that I switch my focus more to the OM?

Do any of you who play in an orchestra have an opinion on which would be the better instrument to concentrate on? Is one intrinsically more 'fun' (however you might define that term) in the orchestral setting? Do the differences between these instruments and the way they are used in the orchestra lead to any differences that I should take into consideration when deciding which to concentrate on?

I'd appreciate any advice our orchestral Cafe members might offer. Thanks in advance,

Bob

[Jim Garber]

I would first check with the orchestra you are planning to play with. The CMSA has a group list. The ones i know of near you the Bloomfield Orchestra and the Munier in Philadelphia.

In any case, the ones I have played in have not used an OM tho it is not unheard of. In fact in Europe the term mandola actually refers to what we in the US call an OM.

Any instrument could be fun. BTW if you can swing it you might consider trying the Carlo Aonzo workshop in New York which i believe is happening next spring. If you can get away to Minneapolis i would also highly recommend the CMSA convention this fall.

[Martin Jonas]

While this depends a lot on the orchestra setup and on the arrangements they play, at least with most older arrangements, the mandola most of the time plays harmony and/or counterpoint, with the odd chordal passage, and the first mandolin usually has the tune. Some people prefer playing melody over harmony, and some like the supporting role. I should, however, say that practicing first mandolin parts on your own at home is a lot easier as they often make sense without the other parts.

I also note that many (probably most) US mandolin orchestras play the CGDA mandola and not the GDAE mandola -- do you already have a particular orchestra in mind and do you know which mandola they play?

Martin

[Bob Clark]

Hello Jim and Martin,

I appreciate your advice. It's the Munier Orchestra I have in mind, and I understand that its the GDAE 'mandola' such as mine that they use. I actually bought this instrument with this eventual goal in mind.

Jim, I can't make it to the CMSA convention this fall, but perhaps the Carlo Alonzo workshop is possible. I appreciate the suggestion and I'll watch for it. I should probably join the CMSA, so I've just written that on my to-do list.

Martin, I take your point about the melody versus harmony and to be honest, I am not sure which I would prefer to play. Are the parts that either one plays more demanding technically? If so, perhaps I should begin on the technically less-demanding instrument and then either transition into the other, or stick with that one depending on my experience with it.

Thanks again for the advice, Bob

[margora]

I currently play octave mandolin (and occasionally the CGDA instrument) with the Providence Mandolin Orchestra. In the past I've played (first) mandolin. I also play a lot of solo music, for which I use both mandolin and octave mandolin.

In the PMO we are switching (rapidly) to using the octave mandolin almost all of the time in the mandola section (one person currently plays the CGDA instrument exclusively. The result of us switch depending on the piece). The reason is that much of the music that we play is contemporary and originates outside of the US (e.g. Australia, Germany) and outside the US, "mandola" refers primarily to the octave mandolin. Octave mandolin is traditionally written in 8va treble (same as guitar), which makes switching between mandolin and octave transparent (as far as reading is concerned). Much older music for the CGDA instrument is also written in 8va treble. Generally, it is not a problem to play CGDA parts on the octave (although they can sometimes be high up the neck), but the reverse is not always true. I have no difficultly switching between mandolin and octave, so I am a bit puzzled why you teacher wants you to focus on one.

The octave is a very versatile instrument and you are wise to play a shorter-scale version (although at 20", that is still long by rest of the world standards. The instrument I currently play is a little less than 18", and I sometimes string my Weber as an octave and it is 17"). Mandola sections are usually smaller in number than mandolin sections, which means you and your instrument will stand out more -- more challenge (i.e. fun), IMHO. The mandola parts are usually easier than first mandolin parts, but that depends on the piece (e.g. several of the PMO pieces have challenging mandola parts, such as John Petersen's Illawara Dances, or Victor's Concerto a Pizzico).

In the end, it really depends on the group that you are joining. I see that you are in southern NJ, so if the group in question is the one in Philadelphia, I suspect they will be open to it.

[Bob Clark]

Hello Mr. Margo,

Thanks very much for the good information. I appreciate your taking the time to advise me in this way.

I am leaning toward concentrating on my lower-voiced instrument, whether one should call it an OM or a mandola. I agree with what you are saying about music written in8va treble. This does make for easy reading. My particular instrument is a Weber with a scale length of 18.5", which I like very much. I have Thomastik lights on it and it sounds very nice. It has an OM sized body, which gives plenty of resonance and volume. I think it would be quite suitable for orchestral playing.

It is the Philadelphia group I have in mind, specifically the Munier group. There are actually two related groups in Philadelphia. Perhaps in time, I can play with both.

I have to mention as well that being a displaced, native Rhode Islander, the Providence Mandolin Orchestra has more than a little attraction for me. Your Resonance recording is a real favorite of mine!

Thanks again for the advice,

Bob