One Seating Chart Does Not Fit All

This topic is something that I have gone through many phases of contemplating throughout my teaching career. What is the best way to seat the students in my band? Should the flutes be on the left or the right?

Yes. That is the answer.

If you are anything like me, one of the things you observe when going to a concert is how the players are seated, and when they do not match what you expect, you question everything! That is the point: one seating chart does not fit all. There may be many good reasons to customize the approach outside of the norms to help create the best sound for the audience and positively influence the performers' experience on stage.

What are some things to consider when creating the seating arrangement? A few factors include instrumentation, the number of performers, the acoustics and size of the room (auditorium and rehearsal space), individual strengths and weaknesses of the performers, the level of the music and orchestration, visibility, and a multitude of other factors, not the least of which is your personal preference.

Instrumentation and Level Considerations

In deciding on a seating arrangement, I first consider the level of the music and how that music is generally scored. If I am conducting or teaching intermediate and lower grade level music, I like to group more by voices rather than instruments (in general). For example, I keep the bass clarinet, baritone saxophone, and tuba close to each other. The same goes for tenor saxophone, trombone, bassoon, and euphonium. Alto saxophone and French horn should be close, in some form: next to each other, with horns in front of the altos, etc.

If I am working with music that is at a higher level, the orchestration is more independent, so the seating considerations are more in line with grouping by instrument families and less by voicings. In either case, you want to create a scenario in which the performers can listen to one another for balance, blend, and intonation as well as have a clear line of sight with the conductor.

For the listening responsibilities of the performers, who is sitting by whom is also very important regarding the strengths and weaknesses of the ensemble members. How you seat the stronger versus weaker players is truly dependent on the specifics of the ensemble, so I mention it here as something for you to consider when planning for your unique ensemble. Again, you do want to create an environment that encourages listening and blending, with the less experienced performers working to match the sound of the leaders within the group. I say this because the goal is not to hide the less experienced players but rather to encourage and guide them to improve. After all, one of the main benefits of being in a musical ensemble is collaboration and growth—working with other people with different skills and a common goal!

Communication Is Key

As I have mentioned, listening is extremely important in developing the sound of an ensemble, and, of course, performers need to know what they are listening for and how to make adjustments as they play, but that is a whole other article! Visual communication is also important so that you, the director, can see the eyes of every performer. Yes, you should be able to see every student’s eyes, as a visual cue is equally important as a cue with your left hand. They need to see your smile when they perform well and see your expression as you interpret the music they are performing, since you are all on the same emotional journey through the music together.

So, what gets in the way of this communication?

It could be many things, including the amount of space available on stage or in the rehearsal room. Therefore, it is important to consider allowing as much space as possible for the performers to be able to have good posture and not be crowded, as well as to be able to adjust their stands (usually raising them) so they can easily see their music and make occasional glances at the director. I say occasional because they do not need to stare at you, but they do need to “check in” at key moments and also watch for interpretations you are sharing with them

Percussion

I think it is sound advice to consider the projection of the various instruments, as well as considering the listening responsibilities of the performers within the ensemble. Many times, unfortunately, the percussionists are often jammed together without enough space to perform comfortably or spread so far that it is hard for them to hear key sections of the ensemble. So, it is important to be considerate of the percussion placement not only for the musical balance and appropriateness but also to help set students up for success.

I’ve Got My Eye on You

Another point of contention is where to put the tubas. Smack dab in the middle does make sense when we often discuss listening down to the lowest voice in the ensemble for tuning. And it sure would help the front row have more of a chance of actually hearing them; however, is the middle of the back row the best place for them? The answer is a solid maybe. I have had the tubas in the middle, and it worked great. However, in time, I felt that it made it quite challenging to see my percussionists behind them (remember, communication is key), so I moved them.

Another common practice is placing the tubas at the end of the last row to the conductor’s right. That works as well, but is it conducive to listening? And how does it affect the overall balance of the ensemble? For me, I settled into having another row behind the trombones with the tubas in front of the timpani and euphoniums to their left (outside). I felt that this helped support the ensemble sound, brought them inside the ensemble enough for listening, and provided stability with the bass voice within the band.

Flexibility Is Key

Back to the first question—Do the flutes go on the conductor’s left or right? I do it both ways, depending on the situation and considerations of all of the above! I do, however, prefer them to my left. The main point is flexibility and individuality. Seat your band in the best way you feel will help create that listening environment for the ensemble and the audience members. Don’t be afraid to experiment and try new seating arrangements.

Over my many years of teaching, I have changed my preferences several times, including moving my euphoniums to the second row for some pieces, and it was amazing! I have set up my rehearsal space with an aisle down the middle, not for the sound but so I could easily hop off the podium and be among the players. What a great way to help support growth and independence, as well as keep everyone on their toes!

Ultimately, the decision is yours. Your ensemble is unique, as you are, and what works for another group may not work for you, and that is fine. Remember, the goal is for us to connect students (and audiences) with music, and if a thoughtful approach to seating helps in that goal, then you are doing it right. If you haven’t thought about your seating in a while, maybe this is a good time to think about it. If your students are anything like mine, they will love experimenting with their seating, and you might hear things in a new way. Enjoy experimenting!