Jill Fratianne 0:02

Welcome to the Unscripted Symphony, the podcast where courage takes the lead and life's greatest opportunities happen between the notes. I'm Jill Fratianne, and with Each Week, we'll explore the stories, lessons, and bold decisions that remind us to do it scared, trust the process, and create a life that's uniquely your own. I'm joined today by Ashley Garritson, Principal Cello of the Miami City Ballet and Atlantic Classical Orchestra. But today we're gonna get into it. We're gonna get into leadership. Ashley, I recently saw a post that you posted on Facebook, and it has sat with me for weeks. And it was about what you've learned about leadership through being principal cellist, you know, your whole life from youth orchestras to college. Uh you've also played in section as well, but you've you've done a lot of principal roles, including that's where you are today. So um let's let's get into it.

Ashley Garritson 1:10

All right, sounds good.

Jill Fratianne 1:12

So, one of the things, the first point that you made is how morale is non-negotiable.

Ashley Garritson 1:19

Absolutely. You want me to go into it? Just get into it. All right. Uh, first of all, if you don't have morale in your section, leadership completely fails. And what I have found, and that nobody teaches you, is that when I am boosting the morale of each player, everyone, every single person, uh, we sound better, we're a cohesive section, and it's just more pleasant to be in. I mean, I feel like, you know, you have that what that means is is that you care about them as a human being first. And then, you know, not everybody's gonna like each other. It's impossible for that, you know, to all be best friends, but at least there has to be some type of respect. Um, and and when you when you have that, people work harder, they play better. It's just it's a whole ecosystem that that works. And um I find that that having morale is far more effective than have even having the best players. I've been in sections where you have the best players, and the egos just it's like too many chefs in the kitchen, it falls apart. And something about the Miami City Ballet, we are the only section that has stayed the same in the 15 years I've been principal. And everybody thinks it's everybody says it's the best section. And I really think it's because we have this camaraderie and we just we sound great. And um, yeah, more morale is just if you don't have that, nothing works. But if you have it, it's really amazing what you can do.

Jill Fratianne 2:55

Any tips, uh, or I'm sure you've experienced maybe something was off with the morale.

Ashley Garritson 3:01

Yeah. Um, and that goes into another point about leadership. It's like they're counting on you to do your job, and sometimes that means having uncomfortable conversations. One specific instance comes to mind where a player just wasn't cutting it, they weren't preparing, they were doing, you know, wrong articulations, all that. I don't want to get too much into music speak, but it was just kind of sticking out. And the stand partner came to me privately and said, I want to quit. Like it's driving me insane. And there was nothing wrong with there was no personality issue. Um, but I did, I was like, I can either not have the conversation because it's uncomfortable, or I can do my job because they're relying on me. And I ended up having a um a one-on-one conversation with this individual rather than pointing out all the ways that this person was, you know, making mistakes and sticking out. I really tried to point out all of the ways that, you know, there could be room for improvement. You know, it's almost like corralling. And this person actually stepped up, and the stand partner came up to me later and thanked me so much for that. And I was terrified to have that conversation. I bet. I bet. But yeah, they're relying on you to have those tough conversations, and so then everybody's happier that that energy does ripple out. And that was yeah, that was one example.

Jill Fratianne 4:33

I loved something that you mentioned too, and I've thought about it so much since you said it. About preparation is respect.

Ashley Garritson 4:45

Yeah. So that that also boosts the morale because when they have a leader that's prepared, not and not just like I know the notes, I know the solos, I know everybody else's part in the orchestra, I can play well, like all of those things are kind of basic. But it's when um you're prepared to answer questions so that there's no confusion, specifically when there are like D V C like different parts written. So, you know, you you have to be very clear and you need to be confident in what you do. Um, and now my mind is going up. And uh what was the topic again? Well, no, it's preparation. Yeah. So um it's also it's also showing up early so that they know that you're not just leaving them. Where's Ashley? You know, uh, you know, yeah, it's like you gotta be there. I learned that in civic orchestra.

Jill Fratianne 5:41

I did too. I did too, right? Like if you weren't there 15 or 20 minutes early as the principal player, you're late.

Ashley Garritson 5:48

Yeah, absolutely. And that also means I have to prepare Boeings well in advance. I have to, you know, I think what happens uh when you are prepared is that your section feels safe and they feel safe, you know, to show up. And and also I've seen it where principals aren't prepared, and what ends up happening is the attitude takes a nosedive. Oh, they didn't even prepare. Why should I prepare? Why, you know, like why should I care? And so that just it like infects the section um and again affects performance. So when you are prepared, you set the standard, and people want to meet that standard, and and it that's why it's so key.

Jill Fratianne 6:33

It it translates to so many different things because I remember too uh playing in civic. So for those listening who don't know, Ashley and I played in college together. We were both principal at the same time at the training orchestra for the Chicago Symphony. Um, and that that announcement that would come out on what our program is. Sometimes we didn't always know, right? But when that announcement came out, I would feel this kind of natural heaviness of, oh geez, I need to know this thing before we even start, right? And I we would, and and if for see people who are not musicians, right, they wouldn't necessarily know this is what happens. So the second you know the program, especially if you're, you know, we were still young in our career, we didn't necessarily we may not have necessarily even played that piece yet before in an orchestra. We could have heard it, maybe, but maybe we didn't play it. Nine times out of time, I didn't. Even after playing in a professional setting for over a decade, every every program was like, oh geez, I've never done Beethoven 9 or I've never done Mahler one, you know, and and uh even throughout my professional career playing with the Portland Symphony, I was shocked at how many, you know, pieces that I hadn't already played in in orchestra. But for a leader who's uh you know, launching a new product for their company, a president that's stepping in and there's you know a significant change, you have to show up as if you've been playing that playbook your whole life.

Speaker 3 8:09

Right.

Jill Fratianne 8:09

And and there's kind of an element of fake it till you make it, but I think again, as you sit longer in a leadership role, it becomes a natural habit. Yes. But it's nothing they taught you in music school, was it, Ashley? No, no, no, no. Never even brought up. Okay, right, right. You're just always auditioning for a role because that's the best role. The best player is the principal player, so everyone wants to be the principal player, but there's never any talk about what that what that position done well even means. And being a maverick and just being the best player and not being a great section leader leads to poor morale, attrition, people wanting to quit, people don't feel like they're heard, just like just like a sm it's like a small startup within the company. It's like they're holding a company, but it's like a small division. A cello section is a division, right? Right. Um, how about this one too? Not everyone will like you, Ashley.

Ashley Garritson 9:13

How many years has it taken to link like most of my life because I'm a people pleaser, I want everybody to like me because it's more comfortable. I remember my first lesson in this was in college at Northwestern, and there was somebody sitting behind me who I think I wasn't quite prepared, or I made a mistake, or I didn't have a good Boeing or something like that. And I heard under under their breath, gosh, she's principal and she can't even play. And like it just made me feel so poopy. And uh, and I remember I was like, you know, but I'm still the leader, and I still, I mean, and that also means we're not perfect. Like we do make mistakes. I do make mistakes. I try to limit it with as much preparation as possible and focus of a tremendous amount of focus. But, you know, there are times where there are section players that don't like you or they don't agree with you. I also had a stand partner for many years where it was so bad that I would have so much anxiety going into that week to perform that I almost couldn't live with it. And eventually, you know, like I really had to for myself, and not because of this individual, for myself, I was like, I just have to be that much more clear and that much more uh have conviction in my choices as a leader and really pay attention and just do the best job that I can do. And that individual I eventually had to have a conversation with because they were uh usurping my control, leading from the second, from the second chair, constantly questioning, oh, that's a bad Boeing, or you know, why would you do that? And I just would freeze. And so eventually, like I had to do a lot of personal work of like, well, okay, I'm gonna get into spiritual stuff, but like I really had to see this individual as like maybe, maybe there was something going on, but I still had to show up and do my role regardless. And that it's not a democracy sometimes. Like when I make a decision, maybe sometimes it's not the best decision that everybody agrees with, but it's the best decision in the moment that I have from experience, not just because I'm coming up with something. And I eventually had a talk with this individual, and I was shocked how well it went because they were also playing too loud. And like there were so many, there were so many things that were disruptive that I had to like put my big girl panties on, excuse the expression, but like I eventually had to address it. And ever since we are like the closest of colleagues, and there's so much respect there, and to the point where we will bounce ideas off each other, you know, uh outside of the orchestra, and it's really turned into a really beautiful working relationship. So, you know, you've got to be prepared that people won't like you or like your choices, but that it can't sway you, especially when you have really good decisions. You have to stand by them and know that this is the best that I can do, and I'm not gonna let somebody's attitude or words throw me. I can learn if I need to, uh, you know, if I'm wrong or if things need to be adjusted, I have to be humble enough to to do that. But at the same time, it's like I make choices and I need to stick stand by them and um know that not everybody's I have to get comfortable with people not liking me. That's that goes well beyond the orchestra.

Jill Fratianne 12:50

Yeah, that's a that's a lifetime of work. Yeah. And for people who are listening who may not know the difference between a principal role and just sitting in the cello section, can you talk about the things that the principal player is responsible for? So if someone's coming into an orchestra, there's always going to be a principal, a first chair. Concert master is a whole nother thing. We're just gonna talk about cellos today. And like the principal of a cello section, there's also a second chair, right? So could you talk a little bit about to someone who's not a musician, what does a principal player do?

Ashley Garritson 13:28

Sure. So there are there are many things. I mean, the obvious ones is that you know, oftentimes I'll have solos where I'm featured in a piece. Um I will have to do all of the Boeings, which means when I get the part, and usually I get the part well before it's passed out, and I go over and make sure all the markings and and articulations and how the section is divided, what parts they're playing, um, how that's, you know, because well, I won't get into that, but like there are different parts that need to be assigned. Um, there are choices that need to be made. And then if there's someone new in the section, I will always make sure I introduce myself. I'll, you know, get to know them. I really make a point to know everyone in the section so that they feel uh valued because every player is valued. And when they're not, they're the it's it again in infests, infects the section. Um, I also am responsible for interacting with the conductor, asking questions. And then when I'm actually in rehearsals and concerts, I'm cueing. There are certain things that the conductor delegates to its principles. So if there are entrances that are tricky or um certain uh cues, I'm responsible for bringing in the whole section. And when there's morale, they follow you. Um and then also there's the very real time, especially in rehearsals where my listening is so keen. I'm listening to the whole section, but I'm also listening to the section as a whole. I'm also interacting with all of the other principles to make sure we're matching, particularly the concert master. So the conductor's leading, but we're all kind of following the concert master. So it's like it's trickling down. So I'm really just making sure that everything is cohesive and we're uniform, which is a very takes a lot of focus and very keen listening and sensing when things are off and addressing them. So I have to address things in the rehearsal as well. It's not passive. I don't do my work and then it takes care of itself. I do the work and then in rehearsals, I'm very uh aware of what's what's needing to be addressed or fixed. And then also giving praise to the section when things go well. Like people don't talk about that. Like I make a point after every rehearsal and every concert to thank the section and like great job. And and it just it just has a great feel. I'm sure I'm leaving things out, but those are the heavy hitters of of what I do.

Jill Fratianne 16:10

Yeah, and it's a lot. People don't know this, right? What happens in in rehearsal, right? The level of ear that you have, it's it almost feels like one ear is uh listening to the section, the other ear is listening to everything else, and then the eyes are guiding you there. I've never really broken it down that way, but your your sense and your guiding is from the conductor. So you have two ears listening to two very different things, aside from managing the fact that you have to be, you know, on it, thread on what the heck is going on. Um, and then when rehearsal can stop, right? The section leader will go back and say, Hey, you know, people hate it when section leaders change Boeings, but sometimes you gotta do it on the fly, right? Yeah, and then last but not least, I love this from your post. It translates to everything, but leave no one behind.

Ashley Garritson 17:06

Yeah, okay. So I've been in a section and I've been in the back of a section, particularly when there are rotating seats, and I've been in the back where the principal could not care less about the the back stands. And so you kind of sit there and you're like, hello, I'm here, I'm human. Or, you know, the the principal will return and make a joke to the second stand and or make changes, but then it doesn't get to you, and you're like, fine, you don't want to let me know what changes you made, whatever. I'm gonna do whatever I want. And so again, that it's it's relating again to that morale issue. Um, and so that's why it is so important when I'm making changes or making decisions or things need to be addressed. I really make sure that every single person in the section got the information. And if I can't do it uh in the rehearsal, because sometimes things move so quick and you have to be so discreet, um, I'll make a point to go up to them at rehearsal at break or after rehearsal or before rehearsal and make sure, hey, here's my part, like these are the things that I changed, or these are the things that we need to make sure we do. Um, and that just makes everybody feel like they are appreciated equally. And so it's not like the back of the section is worse and they're not as important. And a lot of people, I mean, it just it festers resentment, it festers anger at the principal, it dis and it's just yeah, it's dis disrespect and and like you don't care about me, I'm not gonna care about you. And uh man, it really when you're in the back of the section, it's not just in rehearsal, it it carries, at least for me, it carried into my everyday life. I remember when I was in the back of a section for a year in civic, and I just it was like one of the toughest years. I just felt so unseen and unimportant, and it really affected like my overall. It was like I was depressed. And it's it's amazing. I mean, that's true in life. Like when people don't feel seen, it really, it really affects you. So like I really want to make sure that everybody feels equally as important and valued equally. It's you know, there's no hierarchy or I'm better than you. It's not that. In fact, they often say let the back of the section lead sound lead. And it's absolutely true. I can't play the loudest. You're gonna stick out. I can't stick out. That's another thing as a principle. I know I need to know when to play out and when not. And and a lot of people don't really know what when to how to gauge that. So yeah, you don't you don't leave anybody behind.

Jill Fratianne 19:56

It's so funny because being a violist and people listening who are not musicians won't know this, but we fight over the last chairs.

Speaker 2 20:05

That's so funny.

Jill Fratianne 20:06

So we're violinists and cellists, there's a whole there's a whole other show, other other episode that we could do with like dynamics of personalities of the of the of the instruments in the section. But I will say the best sections, it reminded me the best sections. We always had the best section in Portland. We had the best morale, we had the we just we were always the best. Um was when the ringers were in the back. Yeah. And so when we'd have like a ringer of violists in the back, we would just have comments from Raleigh in the orchestra. They're like, whoa, because this again, like the sound is coming from the back. And violists in the orchestra are typically the crew that have the least ego because we're kind of the butt of all the jokes, right?

Speaker 2 20:55

Like you can't have an ego and be a violist.

Jill Fratianne 20:59

And we laugh because we know it's true, right? Yeah. Um, but I want to thank you today, Ashley. I hope this is the the first, your first showing on the unscripted symphony. I definitely hope it's not gonna be the last. And am grateful for your share. And if anyone wants to find you or follow up, where should they follow you?

Ashley Garritson 21:23

Uh, Instagram. Instagram? What's your handle? Well, okay, it's Ashley. We can put it in the in the link.

Jill Fratianne 21:30

We'll put it in the link, yeah.

Ashley Garritson 21:30

Yeah, it's in the bio shot and inspired life.

Jill Fratianne 21:33

Got it. We'll put it in the bio. Thank you, Ashley. Have an awesome day and see you well. You too.

unknown 21:40

Bye.

Jill Fratianne 21:43

Thanks for listening to the Unscripted Symphony. If today's conversation inspired you to take one courageous step forward, share this episode with someone who needs it. Remember, life isn't about playing every note perfectly, it's about having the courage to keep playing. Until next time, go create your own masterpiece.