How to Select First and Second Chairs in a String Orchestra

In the orchestral landscape, the role of first and second chairs within string sections holds immense significance. The responsibility of a string orchestra director in determining these placements involves a blend of technical assessment, understanding individual strengths, and cultivating a balanced musical ensemble. The process not only aims to designate leadership roles but also to optimize the collective musical potential of the group while acknowledging the unique talents of each musician. 

Although these guidelines apply generally to a string orchestra in any setting, this article will concentrate on a student string orchestra at the high school level. 

Comprehensive Assessment of Musical Proficiency 1. 

1. Technical Mastery and Artistic Skill 
Determining first and second chairs requires a thorough evaluation of the technical skills of each potential leadership candidate. These include the musician’s intonation, bow control, tone quality, and overall musicianship. An assessment of a musician's command over scales, arpeggios, bowing techniques, and interpretative abilities is vital. This evaluation is fundamental in assessing how effectively a musician can interpret and play the music. 

2. Musical Sensitivity and Artistic Interpretation 
String playing goes beyond technical prowess. It involves the ability to interpret the emotions, thoughts and even humor that the composer or arranger intended to express in the musical score. It is crucial that the director be able to assess a student's musical sensitivity, phrasing, dynamic control, and ability to convey the emotional, intellectual and comedic depth of the music. These attributes often reveal the artistry of a musician. 

3. Leadership Potential and Collaborative Skills 
First-chair positions in a string orchestra often involve additional leadership responsibilities within the section. Evaluating a student's potential to lead, mentor, and foster collaboration among peers is crucial. These roles require musicians who not only excel individually but also uplift the entire section through guidance and support. 

This kind of leadership is shown by example, and by verbal and non-verbal encouragement. If the conductor asks for, say, a certain type of bowing in a passage, the leadership chairs can, in the course of playing that passage, demonstrate the proper way of using the bow. They may also need to explain the bowing method and, when the student has accomplished the task, offer a congratulatory smile or nod.  

Balanced Objective and Subjective Evaluation 

1. Objective Criteria Through Auditions 
Objective evaluation criteria, such as auditions or playing tests, are foundational in determining chair placements. Auditions should cover technical proficiency, sight-reading skills, and prepared repertoire. This approach ensures a fair and transparent process for chair assignments. 

The musical part of the auditions are best handled as a blind audition, so that the only thing being critiqued is the player’s ability to play the music and follow the conductor’s directions. When the musical part is completed, the students are given a number, which they keep secret. The director, and any other person helping to judge the candidates, use that number to identify each candidate’s performance. 

2. Subjective Assessment and Personal Observations 
While objective criteria are vital, subjective observations play an equally significant role. Regular rehearsals and interactions with students provide insights into their work ethic, commitment, responsiveness to feedback, and overall contribution to the ensemble. These qualitative aspects complement objective evaluations, offering a holistic view of the students' capabilities. 

Perhaps this portion of the whole evaluation process should be done first, without the student’s knowledge, so that they won’t be inclined to act better than they normally would. Another step to this might be to have the whole orchestra suggest who they think might make a good first and second chair for their section. A written questionnaire might include such questions or instructions as: 

• Who would you suggest to be the first chair in your section? Briefly explain why.
• Would you be willing to follow that person as first chair?
• Do you know of any reason that this person would NOT make a good first chair? For example, do they engage in cyber-bullying, cheating in academic subjects, taking drugs? (Whatever else the director would do with any negative information would be up to his or her discretion.)

 This would give the director a better view of the students’ character, since many students hide some of their lifestyle from adults. 

Fostering a Supportive and Nurturing Environment 

1. Transparent Communication 
Maintaining transparency in the evaluation process is essential. Communicating the criteria used for chair assignments and explaining the rationale behind decisions fosters trust and understanding among the students. Open dialogue encourages students to understand the factors considered and motivates them to improve.  

2. Encouraging Continuous Growth 
Chair assignments in a string orchestra should be viewed as dynamic rather than fixed. Directors should provide opportunities for students to progress and challenge themselves. These opportunities represent another good time to use the Pygmalion Effect. I’ve referenced this in other blogs, but basically it is an experience where higher expectations lead to an increase in performance. Regular re-evaluation and the chance to audition for higher chairs encourages growth and ensures a supportive, evolving learning environment.  

Balancing Competition and Collaboration 

1. Healthy Competitive Environment 
Competition within the ensemble can serve as a driving force for improvement. However, it must 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. 

There are some aspects of the musicianship in a string orchestra which can be objectively compared, such as instrument position, bowing technique and dynamics. There are others that are harder to quantify, such as interpretation and emotional input. Having said that, it should be noted that the majority of healthy competition should be with each student. One should strive to be better today than yesterday, and not as good as tomorrow.  

2. Emphasizing the Value of Collaboration 
While individual growth is important, the essence of a string orchestra 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, fosters a sense of unity within the section. 

String orchestra players can learn from the better jazz musicians in that jazz musicians will bring a slightly different interpretation to a piece, but the fusing of those inputs creates a whole new version.

Conclusion 
Selecting first and second chairs within a string orchestra involves a multifaceted process that demands a delicate balance between objectivity and subjectivity. It is a responsibility that goes beyond recognizing technical prowess; it involves acknowledging leadership potential, individual strengths, and the collective contribution of each musician to the ensemble's harmonic tapestry. 

A successful string orchestra director aims not only to create a group based on technical proficiency but also to foster an environment where each student feels valued and motivated to excel. Through a comprehensive assessment, open communication, encouragement of growth, and a balance between healthy competition and collaborative spirit, the director can guide the ensemble toward a harmonious, musically enriched experience. Ultimately, the director's discretion in chair assignments plays a pivotal role in shaping a dynamic, harmonious, and artistically accomplished string orchestra. 

Salt Cellar Creations understands the beauty and power that a String Orchestra can convey and 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. 

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