A Director's Guide to Assigning 1st and 2nd Chairs in Concert Band Sections

In a Concert Band, the assignment of first and second chairs within each section is a crucial responsibility that helps shape the ensemble's performance. The role of the concert band director in determining these placements involves a delicate balance of assessing musical abilities, understanding individual strengths, and fostering a cohesive musical unit. This process is not just about hierarchy; it's about maximizing the collective potential of the group while recognizing the unique attributes of each musician. 

Musical and Personal Assessment

1. Musical Proficiency and Skill

Determining first and second chair positions requires a thorough evaluation of technical skills, tone quality, intonation, and overall musicianship. An assessment of a student's proficiency on the instrument, including scales, articulation, and sight-reading abilities, forms the core of this evaluation. It's essential to gauge how effectively a musician can interpret and execute the music. 

2. Leadership Qualities and Responsibility 

First-chair positions often carry the additional responsibility of leadership within the section. This entails guiding fellow musicians, setting a high standard for performance, and offering support to the director. Leadership potential, reliability, and the ability to positively influence fellow musicians should be considered when assigning these roles. 

3. Understanding Individual Strengths 

Each musician possesses unique strengths that can contribute to the collective sound of the ensemble. Some students may excel in technical aspects, while others might bring a distinct musicality or versatility to their playing. Recognizing and wisely using these individual strengths can really enhance the section's overall performance. 

Objective and Subjective Evaluation

1. Auditions and Objective Criteria

Objective evaluation criteria, such as auditions or playing tests, form a foundational aspect of determining chair placements. These assessments should encompass technical proficiency, sight-reading abilities, and prepared repertoire to fairly evaluate each student's skills. This approach ensures an impartial and transparent process for chair assignments. For a truly objective evaluation, these should be conducted blindly. Here are two suggested methods: 

The first one is conducted in a way similar to the way a professional music ensemble would choose its players and leaders. This would work in larger bands. It would also have to be performed in such a way as to foster healthy competition and recognition of accomplishment rather than encouraging the wrong kind of pride and reinforcing a shame culture. 

• The director assembles a list of potential chair holders.
• Each one chooses a number, randomly drawn.
• Each candidate performs a prescribed set of pieces behind a screen so that the director can hear, but not see the candidate. The set of pieces should include a prepared piece chosen by the director, and the same for all candidates. It would include all of the technical skills required for holding a chair position.
• Each candidate would also perform a piece not seen before to test sight reading skills.

 The second one may prove a little more difficult but, in the end, it may be better, especially in a smaller or less mature band, to choose chair holders while lessening the danger of hurting the feelings of, or undermining the confidence of the musicians. In this one, the director is using a more covert method. 

• The director assembles a list of potential chair holders, but no numbers are drawn.
• During a regular rehearsal, the director asks to hear each section play a section of a well-rehearsed tune. The director can say that he or she is investigating something, which is the truth, and not to be bothered as he or she wanders around among them.
• While each section plays, the director does what was described and wanders among the players, listening, critiquing and making note, mentally or on paper.
• The same process can then be used with a piece that the band has never played before, perhaps one that the director is considering using. That way, the director can analyze the players’ sight reading skills and see if the piece is one that they might like to play.

 From either method, the director can the determine who would be the best candidate, so far, for each chair position. 

2. Subjective Assessment and Personal Observations 

While objective criteria are crucial, subjective observations also play a significant role. Regular rehearsals and interactions with students offer insight into their work ethic, commitment, responsiveness to feedback, and their overall contribution to the ensemble. These qualitative aspects often complement the objective evaluations, providing a more holistic view of the students' capabilities. This can be done in the following ways: 

• Note which students arrive on time, or early, have their music ready and are in their seats when they need to be.
• Note which students tend to be helpful, regardless of whether they have an “official” leadership role or not.
• Note which students are paying attention to the conductor as well as being aware of what others in their section, and the band as a whole, are doing.
• Note which students tend to enjoy playing and engaging with their fellow musicians and the music.

Creating a Collaborative and Supportive Environment

1. Open Communication and Transparency

Make sure that every musician knows what is required to achieve a chair position and discuss the rationale behind the director’s decisions. This fosters trust and understanding among the students. Encouraging open dialogue allows students to understand the factors considered and motivates them to improve. Remind students that this process is about improving the band as a whole, not finding fault with anyone. 

2. Encouraging Growth and Development 

The assignment of chairs should not be static. Continuous improvement is a fundamental aspect of musical development. Directors should provide opportunities for students to progress and challenge themselves. Regular re-evaluation and the chance to audition for higher chairs incentivize growth and ensure a supportive, dynamic learning environment. These re-evaluations should be regularly spaced, put on the calendar and announced far in advance. 

Balancing Competition and Collaboration

1. Fostering Healthy Competition 

Competition within the ensemble can be a driving force for improvement. However, it should be nurtured in a healthy and supportive manner. Encouraging students to strive for excellence while fostering a sense of camaraderie helps maintain a positive and motivating environment. It can be compared to a sports team. There is friendly competition among a team’s members, but the real opponent is the other team. Also, the greatest competition should be the student desiring to outperform the previous day’s achievements. 

2. Emphasizing Collaboration and Teamwork

While individual growth is important, the essence of a concert band lies in its collective harmony. Emphasizing the importance of teamwork and collaboration is essential. Encouraging students to support and learn from each other, regardless of chair placement, cultivates a sense of unity within the section. 

Conclusion Assigning first and second chairs within a concert band is a complex process that demands a balance between objectivity and subjectivity. It's a responsibility that extends beyond merely recognizing technical prowess; it involves acknowledging leadership potential, individual strengths, and the contributions of each musician to the collective harmony of the ensemble. 

A successful concert band director aims not only to lead a group based on technical proficiency but also to foster an environment where each student feels valued and motivated to excel. By using a well-rounded assessment, maintaining open communication, encouraging growth, and balancing healthy competition with collaborative spirit, the director can guide the ensemble toward a amicable and musically enriching experience.

Salt Cellar Creations understands the challenges of leading a Concert Band. We have a growing library of original works and arrangements for different types of bands. 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. 

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