- [Instructor] Projecting confidence and warmth
while walking on stage is always a challenge.
And the more people walking on stage together,
the more potential for choreographic disaster.
This quintet seems to really have things together.
Their initial bow was together.
The clarinetist led on briskly.
Now as they take their bow after completing their piece,
they watch the flutist and follow her lead.
She leads off and let's see how they look
as they return for a second bow.
Notice that they did not wait.
They did not keep the audience waiting.
The clarinetist again is leading briskly.
The group watches for the final arrival,
that of the flutist.
They follow her lead and walk off briskly.
The applause is tumultuous.
They need to return again.
Let's see where they go this time.
They apparently have decided to go in front
of the quintet setup.
This looks very good.
Once more, they're following the flutist's lead.
She's leading off.
The oboist steps back,
but the horn player got a little confused,
then remembered that the clarinetist
should walk ahead of him.
They're trying this final bow a second time.
This looks good so far.
Once again, they're following the flutist's lead.
She leads off.
The oboist steps back, the horn player waits,
and this is a totally smooth exit from the stage.
(orchestral notes ringing)
Once again, our quintet is concluding a piece.
Let's see how they do on this bow.
It looks good, oh.
The oboist seems a little uninvolved, finally stood up.
And now, why is the flutist reaching for her music?
And the bassoonist did the same thing.
You never need to take your music off stage,
or on for that matter,
as long as there's a stage manager.
They're trying this once again, concluding the piece.
Let's see if they stand up together this time.
Yes, this looks good.
Bowing together, excellent.
Leaving the stage together, absolutely.
The applause is tumultuous.
Will they keep the audience waiting
or will they return promptly?
Good, this is the right amount of time to wait.
Oh dear, someone didn't get the message about
a bow in front of the chairs.
And the total effect is one of confusion.
It's always important to discuss
which way you're going to bow on your return.
I'm sitting in the audience
eagerly awaiting a performance by our quintet.
But they're not coming on stage.
I'm waiting, I'm waiting.
It's rude to keep your audience waiting very long.
Now once they're on stage,
the tempo is good for the entrance.
I like everything except the fact
that it looks as though our flutist
may be headed to a cocktail party
right after the performance.
It's important to have unity in your uniform
in any chamber ensemble.
Everyone else looks good.
(orchestral music)
They're starting to tune.
They're taking their time tuning.
Is it starting to sound a bit like concerto practice?
And a second A?
I don't think so.
Tune backstage.
When you're on stage,
check the A once again for security,
but that's all you need.
This time our quintet is demonstrating
how not to appear as you walk on stage.
The body language lacks energy
and the group look lacks unity.
Obviously there was no discussion of a dress code
and the red tights are distracting.
Crossing legs is equally distracting
and really a no-no in stage deportment.
As the group finishes, they realize that
they've played very out of tune in that last chord.
They are not pleased.
They feel bad and their body language
is communicating dejection.
Remember, even if you don't like the way you sounded,
many people in the audience won't know
and you need to communicate confidence.