How You Play the Boring Parts Can Make or Break a Performance
Have you ever had a boring, nondescript part to play in orchestra, band or any ensemble? Look at this, just the same note over and over in an unchanging rhythm marked pianissimo—or so it seems.
Today we’re going to show you how to take those seemingly boring parts and make them beautiful. This is something every musician deals with at some point.
Let’s dive in.
Let’s look at the opening of Tchaikovsky’s “Dance of the Sugar Plum Fairies.” It looks straightforward, a single note, repeated, marked pianissimo. You might think your job is just to play quietly without much thought.
But great musicians don’t just feel their way through these parts. Or try to play them with passion or musicality. They listen.
They hear and understand the musical motion.
Musical motion is always changing. It’s either increasing in energy or decreasing.
How do you know what the motion is?
You have to listen closely to the melody and the harmonic changes. Where’s the tension building? Where does it relax? Notice how the melody moves.
Your role, even with a simple-looking part, is to find the shape in your line that supports and enhances this musical motion. Let’s listen to the cellos and basses in “Dance of the Sugar Plum Fairies.”
They’re not just playing softly, they’re shaping their lines in response to the harmonic tension and the main melody.
Did you catch that? This isn’t just about playing the notes as written. It’s about actively participating in the musical conversation with the other musicians.
Let’s listen to a version where it doesn’t participate in the motion:
And now here’s one where it’s shaped to fit the rest of the music.
Notice the difference? Here are two common mistakes: playing without any motion or direction because you think a dynamic marking like pianissimo means to just stay soft and static. Listen to how that sounds.
Not very engaging, right?
You might think that playing that way is correct, but you would be wrong.
We’re not just making up some arbitrary shape and playing it. We’re matching the shape of our loudness to the harmonic and linear motion of the main part.
Now, let’s practice this together.
Start by listening closely to the melody and the harmonic changes. Where do you feel the tension building? Where does it relax?
Let’s play a few measures and shape our accompaniment to align with these movements. It’s not just about being soft or loud, it’s about being in dialogue with the melody and the harmony.
Ready? Let’s try it.
Your turn
Now I want you to try this with a piece you’re working on whenever you’re not playing the melody. Listen for those harmonic changes and the shape of the main line. Align your dynamics and phrasing to fit them very closely. This isn’t just a one-time exercise, it’s a habit that will make you a better musician every time you play.
And don’t forget, these skills will apply across any ensemble or genre, so keep practicing and experimenting. When you start shaping your parts in this way, you’ll notice a big difference. You’re playing will feel more connected to the rest of the ensemble. The music will have a clear direction and the audience will feel that unity, even if they can’t pinpoint why.
This is what makes professional ensembles sound so cohesive. They’re all in tune with each other’s shaping and the overall flow of the music.
Remember, no matter what instrument you play or what style you’re in, these principles apply whenever you’re in a supporting role. Think about how you support the main part and contribute to the musical energy. This awareness makes you a more versatile and valuable musician in any setting.
Now, go try it for yourself!
Find a passage where you’re not playing the main part and see how you can participate more actively in the music. Upload a link in the comments so we can check it out.
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