There is nothing wrong with that, of course, but we are still finding out that clients can do more than we think. “Our approach is that orchestra members should do as much as possible themselves. If you perform regularly, as we do, then it is really important that you make it sound good and lift up the orchestra members”. Singing and wind instruments, for example, are often difficult in terms of mouth motor skills. And musically we just want to do something. We go to great lengths to do that – think of things like the nose clippers we bring along to make sure all the members of the orchestra look well-groomed. We think incredibly hard about whether something is worth listening to and watching. “We do a lot to give our orchestra members success experiences at performances. It often bleeds to death if you just rehearse and say: ‘OK guys, see you next time’.” “Is it about having fun making music? Or do you want to be on stage in six months’ time? In any case, make a plan. So make sure you have good support and an adequate budget.” It’s almost impossible to do with volunteers alone. Moreover, we have Ipse de Bruggen behind us. But we have more than half a century of experience. Lyan Verburg: “People see us on TV and say: ‘I want to do that too’. A g-orchestra often costs much more time and effort than expected. She likes to share her knowledge and lessons learned. Jostiband orchestra leader Lyan Verburg regularly receives emails or phone calls from beginning g-orchestras. Whether it is a large concert or a small-scale performance, it is enormously motivating to share the music with the audience from time to time. People with serious disabilities can often learn to participate in the chorus only, for example. Allow others to actively enjoy playing together. Playing together also means working on social behaviour. Sometimes you have to be quiet to listen. Jostiband orchestra leader Lyan Verburg: “We are strict, but that helps to maintain a good atmosphere. Going to the toilet or playing with your mobile phone is not allowed during rehearsals. Provide breaks at set times and rituals such as playing “Lang zal ze leven” on birthdays. Alert, strict and clear accompaniment: this ensures that a rehearsal remains fun for everyone. You hear how your part sounds together with that of someone else This helps you remember it better than when practising separately. You practise harmonies and rhythm together as much as possible. Melody instruments can play different voices. At each level, band members must pay close attention: when do I have to come in and what is my part? Members of the orchestra also get tasks such as building up and cleaning up. At the Jostiband, each ‘district’ has one assistant (see map). The steps are always: listening > participating > support through the colour notation. During a rehearsal you learn from each other.
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