You’ve just been promoted to assistant principal, or maybe you’re leading your section for the first time as a sub. The conductor cuts off, there’s a three-bar rest, and suddenly it’s your job to bring twelve violinists in together on the downbeat of a pianissimo entrance in the slow movement of Beethoven’s Seventh. Your cue needs to be clear enough that everyone follows it, subtle enough that the audience doesn’t see it, and musically informed enough that it sets the right tempo and character. No pressure, right?<\/p>\n\n\n\n
A well-placed cue does more than just coordinate an entrance. It communicates tempo, dynamic, character, and confidence. When the second violins come in together on the opening of the Schubert Unfinished Symphony’s second movement, it’s because someone at the front of the section gave a cue that said “gentle, singing, and in tempo” \u2014 all in a single physical gesture. A hesitant or ambiguous cue, on the other hand, creates exactly the ragged entrance that makes conductors glare and audiences wince.<\/p>\n\n\n\n
In my experience, the quality of section cues is one of the biggest differences between a good section and a great one. And it’s a skill that almost no one teaches explicitly \u2014 you’re just expected to figure it out.<\/p>\n\n\n\n
An effective section cue has three components: the preparation, the breath, and the arrival. The preparation is a small physical movement \u2014 usually an upward motion of the scroll or a slight lift of the bow \u2014 that begins one beat before the entrance. This signals to your section: “Get ready, we’re about to play.” The breath is an audible inhalation that occurs on the beat before the entrance, timed exactly as a conductor’s upbeat would be. The arrival is the moment your bow meets the string, which should coincide precisely with the downbeat.<\/p>\n\n\n\n
The most common mistake new section leaders make is cueing too late \u2014 starting the preparation on the beat of the entrance rather than one beat before. This forces your colleagues to react rather than anticipate, which always results in a late, uncertain entrance. Practice your cue timing away from rehearsal: count beats in your head and practice giving the preparatory gesture exactly one beat early.<\/p>\n\n\n\n
A cue for a fortissimo orchestral tutti looks completely different from a cue for a hushed pianissimo entrance. For loud, dramatic entrances \u2014 think the opening of Tchaikovsky’s Fourth Symphony \u2014 your cue should be larger, more decisive, with a clear, confident bow lift. For delicate entrances \u2014 the second violin entry in the opening of Dvo\u0159\u00e1k’s New World Symphony slow movement \u2014 your cue should be minimal: a gentle breath, a slight nod, and a carefully controlled bow contact.<\/p>\n\n\n\n
The character of your cue teaches your section how to play the entrance. If you cue aggressively for a passage marked dolce, you’ll get an aggressive sound even if the dynamic marking says piano. Your physical gesture is a more powerful communication tool than any marking on the page, so make sure it matches the music’s intent.<\/p>\n\n\n\n
Not every cue comes from the principal or assistant principal. Sometimes you’re sitting in the back of the section, and you need to help your stand partner or the players behind you enter together. In these situations, your cues should be even more subtle \u2014 a slight lean forward, a preparatory bow lift that’s visible to those around you but not to the audience or conductor.<\/p>\n\n\n\n
The most effective back-of-section cueing is through breathing. If you breathe audibly and rhythmically one beat before an entrance, the players around you will instinctively synchronize with you. It’s the same principle that makes chamber music work \u2014 shared breathing creates shared timing. Practice this in rehearsal: even when you’re not leading, breathe with the phrase and notice how it affects the people sitting near you.<\/p>\n\n\n\n
Your section will only follow your cues if they trust them. That trust is built through consistency \u2014 giving clear, reliable cues in every rehearsal, not just in concerts. If your colleagues know that your cue is always well-timed, always in character, and always confident, they’ll follow you without hesitation. If your cues are inconsistent \u2014 sometimes early, sometimes late, sometimes ambiguous \u2014 they’ll stop looking at you and rely on their own timing, which defeats the purpose.<\/p>\n\n\n\n
One way to build this trust quickly is to mark your cue points in the part. Put a small checkmark above every entrance where the section needs a cue, and practice those moments specifically. Over time, cueing becomes second nature \u2014 a physical habit that’s as automatic as vibrato or shifting. And when your section enters together, in character, and with confidence, everyone in the hall can feel the difference.<\/p>\n\n\n\n
Join 31,000+ string players leveling up their orchestral career.<\/p>\nGet the Free Guide<\/a>\n<\/div>\n\n\n\n Ethan Kim is the founder of Orchestra Kingdom<\/a>, helping string players win auditions and move up in their sections. Follow him on Instagram<\/a>, TikTok<\/a>, and YouTube<\/a> for daily tips.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Learn how to give clear, confident section cues that keep your string section together and earn respect from your colleagues and conductor.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-387","post","type-post","status-publish","format-standard","hentry","category-section-leadership"],"_links":{"self":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts\/387","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=387"}],"version-history":[{"count":1,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts\/387\/revisions"}],"predecessor-version":[{"id":397,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=\/wp\/v2\/posts\/387\/revisions\/397"}],"wp:attachment":[{"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=387"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=387"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.orchestrakingdom.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=387"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}