You have been in your section for a few seasons. You have figured out the conductor’s tendencies, learned how to navigate the principal player’s bowing preferences, and developed the experience to handle most of the repertoire that comes across your stand. A new player joins the section. They are talented but clearly adjusting, making the same mistakes you made when you were new. You want to help, but you are not the section leader, and unsolicited advice can backfire spectacularly in the delicate social ecosystem of an orchestra section.
Mentoring within a section is one of the most valuable things an experienced player can do, but it requires tact, timing, and an awareness of the power dynamics at play. Here is how to be genuinely helpful without stepping on toes or creating resentment.
Wait to Be Asked, or Create Space for Asking
The golden rule of section mentorship is that unsolicited technical advice almost always lands poorly. No matter how diplomatically you phrase it, telling a colleague to adjust their bowing, vibrato, or intonation when they have not asked for your input feels like criticism. And in the high-pressure environment of professional orchestral playing, criticism from a peer can feel threatening, even when it is well-intentioned.
Instead of offering advice directly, create opportunities for the new player to ask for help. Sit next to them during warm-up and casually mention how you approach a tricky passage. Say something like ‘I always struggled with this shift until I tried approaching it this way’ rather than ‘You should try doing it this way.’ The difference is subtle but crucial. The first approach shares your experience. The second approach tells them what to do. New players are much more receptive to shared experience than direct instruction from someone who is not their teacher or section leader.
Share Institutional Knowledge Generously
Where mentoring is always welcome is in the realm of institutional knowledge, the unwritten rules and practical information that every orchestra has but nobody documents. Things like which door to use for load-in, where to find the best coffee near the rehearsal hall, how to submit mileage reimbursements, which librarian to talk to about part discrepancies, and what the principal’s preferences are for bow lifts versus retakes.
This kind of information is incredibly valuable to a new player and carries no risk of seeming condescending. You are not commenting on their playing. You are helping them navigate the organizational culture, which is something everyone appreciates. I make a point of grabbing coffee with new section members within their first week and walking them through all the practical details that nobody else will think to mention. It establishes a friendly relationship and makes them more likely to come to you later if they have musical questions.
Lead by Example During Rehearsals
The most powerful form of section mentorship is modeling excellent habits in your own playing. Mark your bowings clearly and consistently. Follow the principal’s lead without hesitation. Stay focused during long rehearsal stretches when the energy in the room drops. Come prepared to the first rehearsal, having already worked through difficult passages at home.
New players watch experienced colleagues constantly, even when they do not realize they are doing it. They notice who marks their parts, who practices during breaks, who stays after rehearsal to check a passage, and who coasts on natural ability. By being the kind of section player you want to sit next to, you teach through example rather than instruction. This is the most effective and least intrusive form of mentorship available.
Handle Delicate Situations Through the Section Leader
If a new player has a habit that is genuinely affecting the section’s performance, such as consistently rushing, playing too loudly, or using bowings that conflict with the rest of the section, the appropriate channel is your section leader or principal, not a direct conversation. Section leaders are responsible for maintaining consistency and quality within the section, and they have the positional authority to address issues without it feeling personal.
Approach your section leader privately and frame the issue in terms of section cohesion rather than individual criticism. Say ‘I noticed we are not quite together in the Brahms development section. Could we review the bowing at the next sectional?’ rather than ‘The new player keeps rushing in the Brahms.’ This lets the section leader address the problem in a way that maintains everyone’s dignity and does not single anyone out.
Remember What It Felt Like to Be New
The most important mentorship quality is empathy. Remember the anxiety of your first weeks in a new orchestra. The fear of playing too loudly, too softly, too out of tune. The stress of learning unfamiliar repertoire on a tight timeline. The uncertainty of navigating social dynamics with colleagues who have known each other for years. Every new player is experiencing some version of that, regardless of how talented or experienced they are.
A warm ‘Hey, nice job on that concert’ after a difficult program or a casual ‘How are you settling in?’ during a break costs you nothing and can mean everything to someone who is still finding their footing. The strongest sections I have played in were not the ones with the most talented individuals. They were the ones where experienced players made newer players feel welcome, supported, and valued from day one. That culture of mentorship starts with individual choices to be generous, patient, and kind.