tag:blogger.com,1999:blog-7942687343792372926.post4446958995969064520..comments2023-12-01T12:41:46.074-05:00Comments on Frequency Bone: TEACHER'S LOG, SCHOOL DATE 10-29-11Norman Bolterhttp://www.blogger.com/profile/10270610854959695332noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-7942687343792372926.post-52582784039812521072011-11-02T12:13:25.860-04:002011-11-02T12:13:25.860-04:00CONTEMPLATION: Pitch and rhythm can be thought of ...CONTEMPLATION: Pitch and rhythm can be thought of as absolutes. Are they? <br /><br />Absolutely not. :)Gabe Langfurhttps://www.blogger.com/profile/09989694182137017849noreply@blogger.comtag:blogger.com,1999:blog-7942687343792372926.post-73418822023154946162011-11-01T23:07:19.925-04:002011-11-01T23:07:19.925-04:00Thanks Gabe!
To address what you brought up a bit ...Thanks Gabe!<br />To address what you brought up a bit is not really so simple to answer. Sometimes people get so wrapped up in pitch, rhythm and evenness that adding 'music' to it screws them up a bit. For players that tend towards pitch, rhythm or evenness issues and are trying to go for the music, I have seen they try to make BIG contrasts without the bridge that connects one contrast to another. For this type of situation, I suggest to scale everything, i.e. dynamics, curvy shapes, expression, down into smaller increments. . Try to put them into a smaller container so to speak. This can also help to create more subtlety and planning. This point ties into things I talked about this summer on the FBSMC 3 videos about 'playing' with the basics. This can help integrate feeling into are foundational aspects. Rhythm and pitch are also a part of this. Practicing in small bits can help keep the focus more keen to be aware of the details. Not taking the time to do a bit at a time can make it difficult to process all of what we need to make an integrated musical statement. CONTEMPLATION: Pitch and rhythm can be thought of as absolutes. Are they?Norman Bolterhttps://www.blogger.com/profile/10270610854959695332noreply@blogger.comtag:blogger.com,1999:blog-7942687343792372926.post-8191641893104635362011-11-01T10:54:53.005-04:002011-11-01T10:54:53.005-04:00Beautifully expressed Norman.
As you know from w...Beautifully expressed Norman. <br /><br />As you know from working with me, I am also always concerned with these issues and aspects of music-making. I constantly ask myself and my students: what thought process will be most useful here? What will trigger the music-making you desire? <br /><br />So often, a simple (in the sense of clear and concise, not simple-minded) change in conception will make a world of difference. I saw it yesterday, working with my most advanced student at URI, whose high range seemed to have lost some of the power that it had previously. The simple idea of going for a clear and vibrant sound, specifically in the ranges leading up to the highest points of the piece (the Martin Ballade), made the entire picture come into focus. <br /><br />Simple, but not simple-minded. <br /><br />I sometimes hear advanced young professionals who have come up with a musical idea or feeling they want to get across, or want to be experiencing while they play...but it's clear to me that those ideas are not well-integrated with the musical-mechanical details of pitch, rhythm, note length and shape, etc. Can you comment more on how to bring them together in that case?Gabe Langfurhttps://www.blogger.com/profile/09989694182137017849noreply@blogger.com