The subject of whether or not a blind player can participate in an orchestra and follow a
conductor is always fun to debate. (Be sure to see News Journal Issue 2, Fall  1997, as Maureen
Young - a blind professional Concert and Opera singer - writes the article, SO YOU WANT TO
SING IN A CHOIR. www.menvi.org) 

     Following are edited responses to a MENVI Listserve discussion. It was inspired by one
parent's question regarding her blind daughter's desire to play flute in an orchestra.

"Kyra is playing flute now (as well as piano). She has been accepted into the school district's
honor orchestra. They have a pretty short rehearsal schedule before a big concert on March 10
and 11. The flute teacher has asked how Kyra will know when the conductor indicates a "cut-off".
Apparently, one or more of the pieces of music has  several of them. I thought you might be able
to provide some advice on how a blind musician follows a conductor."  - Barbara

RESPONSE 1:
As a band director for a visually impaired band program, I hope I can lend some thoughts. 
 
1. My first idea would be to inform the conductor prior to any meetings of the existence of a blind
musician in the performing ensemble so that person can make appropriation preparations and
alterations to their conducting and rehearsal techniques, should any be necessary. Include the
student's prior history with conductors and what adaptations had been made in the past. 
 2. A basic understanding between the performer and the conductor should be made regarding use
of verbal cuing (such as saying stop on cutoffs, or doing a count down for starts). The conductor
should use verbal cuing during the initial rehearsals, and gradually move away from them as the
performer gains a greater awareness of the conductor's technique and timing. If required during a
performance, verbal cuing should be used, hopefully in mini-doses.
 3. The student musician should be positioned in the ensemble where verbal cuing is audible
during the performance, but does not distract from the performance. The ideal position would be
in middle of the first row, this would allow for the conductor to give required preparations and
cut-offs visible to all performers and audible verbal to the blind performer.
4. The student's knowledge of the material and level of musicianship will determine the level of
assistance required 
by the conductor. My work with conducting blind students of different schools has allowed only a
minimum amount of rehearsal time. During this limited time period, we would concentrate on
those primary areas of the music where starts and stops occur, as well as sections of the pieces
where unison rhythm patterns are required. The motivation of the students to perform well has
always produced excellent results. - Rick 




RESPONSE 2:
Barbara, I'm a totally blind flutist who is playing with a community  orchestra. Following a
conductor is not all that difficult. If Kyra is  sitting next to another flutist she will be able to hear
the other person's  breath for entrances. If she's using Braille music she will have learned the  note
values for cut offs. Our orchestra does 3 major concerts and several summer concerts each year.
For most of the pieces I don't have the Braille  music available. I tape record a rehearsal and play
through the pieces with  the tape, paying particular attention to cut offs, dynamics etc.  - Paula

RESPONSE 3:
Hi I'm Nicole's mom. Be sure to see TEN WAYS TO HELP A BLIND MUSICIAN IN
BAND/ORCHESTRA by Andrew Meyer from newsletter #7 [www.menvi.org]
Nicole needed to be extremely careful not to start too soon, so she had to  depend on her Stand
Partner and listen carefully. She would start just an instant after the others in her section. The
same could be applied to  cut-offs - just stop an instant before the other players if the note can be
counted. If the note is to be held, the conductor could give Kyra a predetermined length and then
hold the note at least that long.  If the conductor is consistent, there will be fewer chances for
mistakes. - Cathy
  (Ed. Note: Nicole played 2nd Violin in the orchestra. See Journal 16 article, "Band &
  Choir Participation.")