This is a very intriguing topic for me. Because like everything else, interpretation has levels of insight, perception and process. And these depend on the depth and power of the connection of the interpreter. Are there wrong interpretations of books, poems, music and everyday conversations with others? Most would say yes. But I would say, as another way of looking at it, it is a matter of the consciousness and angle of incidence of the interpreter into the subject matter that would determine how close to the truth the actual interpretation is. Having said that, that does mean that certain interpretations can be very far away from where the actual point or core of the truth is? In fact, it could be so far away, that it is totally disconnected to what the piece of music, poetry, movie, or anything else is about, that it creates it's own separate little reality.
How about when someone says, "that is a very dry interpretation." Someone else might 'warm' to that 'dry' version of that piece of music. Others might feel it lacks emotional content. There might be a group of people that would say it was 'appropriate' in the context of the music. Here is a big question, IS IT ALL IN THE EYES OF THE BEHOLDER? And this begs the question and further enquiry into what is IN the beholder?
There are people who are considered great experts or authorities in a particular field. A Bach expert or an authority on the music of Mahler. Is knowing something about a piece of music or a work of art important before playing it or listening to it? What happens to you before you know about a piece and you play it or hear it? How does, if it does, change or alter your feeling and interpretation of the piece after you know something about it? I have found that knowing something about a piece then playing it, can make a profound difference in the way I approach it.
Here are some crucial things to consider: When you interpret, WHAT is interpreting? Your academic references? Your emotions? Your 'practical' mind or your 'abstract' mind? Your former or current teachers' concepts? Your instincts? Is there bias? Your likes and dislikes? This is a big subject and is not complicated for the sake of complication. IT IS WHAT IT IS.
In my looking at this, I see an amazing opportunity for deeper personal growth. It is best to be simple with it perhaps in a childlike way. How does it make you feel? How does your body feel when you hear the piece? Does it bring up thoughts of a certain kind? Do you feel energized or drained of energy? There is a good one to look at!
Musicians often say they want to be true to the composers wishes. Do they know what those REALLY are? That is the quest. And this is where letting yourself be free for a while to go on some journeys, some mystery dreaming and let your thoughts soar. This will thicken your interpretation. It will make it richer and more vivid because you will be playing with more connections.
The actual written music, depending on what you connect to when you are playing it or thinking about it, is a URL to the site in the life of the composer and to the Universal Web of what he or she was ACTUALLY CONNECTED TO, WHETHER THEY KNEW IT OR NOT. This is of course, one of those things that I would say is science fiction until you can prove it to yourself as fact. I have NO DOUBT about it's reality through my own experience and process of many, many years.
In the very end, maybe it is the process and journey of what happens to us that is more important and vital to our lives than what would seem to be a 'correct' interpretation. It's in the process that we evolve.
Sunday, March 25, 2012
Friday, March 16, 2012
NEW AND OLD
Most people will not win an orchestra job that can totally support them financially. Some people keep trying regardless of how many years they have been attempting it.
A great mentor of mine said; "it's not what you do, it's the reason why you do it". So a person might have strong personal reasons why they need to keep on trying for 'the job'.
An orchestra job is a particular type of job that is governed by the fashion of playing currently in vogue. People are very easily impressed by 'perfect' rhythm, pitch and accuracy. Put a 'beautiful' tone on top of that sprinkled with the 'appropriate' amount of the condiments of dynamics and style, and you will stand out as a gem. An excellent key on the orchestral keyboard. Not an easy task to accomplish! It takes a TON of hard work, determination and talent to achieve that kind of standard.
Here is the big BUT; not everyone can take their playing and push it into that narrow space of expression and tone. This is more of the case with brass and woodwind players. It seems that strings are 'allowed' to have a big spectrum in general including in the orchestra while winds and especially brass, need to be more conservative. Is this the 'correct' role and function of each section? Maybe….BUT!
Perhaps those of us who cannot just have our whole soul based in that realm will eventually break free of that prison and form new groups and orchestras. Certainly a lot of the music written now calls for a very extreme dynamic and expression range. At the same time, the criteria for getting into an orchestra now and playing mostly the 'classics', calls for even tighter control over the emotions and technique. ( I don't think this was the original intention of the composers and has worsened due to the digital era of virtual reality). A very interesting comparison. Perhaps the 'new' music of today is getting very tired of that narrow box and the orchestral- classical- box is getting frightened and is clinging more than ever to its proper, clean and good mannered playing. It is clinging for it's dear life so much so that it is choking itself to death. We will see what evolves in this unfolding drama of music in the future. The future is actually here now.
This post was inspired by a couple of things. One strong influence was seeing my son Ben's new music group called "Holographic" last week in Bloomington Indiana. Ben is co-founder of the group and conducted several of the pieces. The compositions were outstanding, the musicians were terrific and Ben's conducting was superb. What was truly catching about the evening, was that I had never heard these pieces before. I was 'free' to hear them without prior comparisons or preconceived ideas of 'how' it should go. It was very invigorating. Maybe the 'classics' need a fresh approach that is connected to the SPIRIT of the music instead of a very overly studied and stifled rendition. I think 'classical' musicians need to loosen up a bit frankly.
THERE IS ALWAYS ROOM IN EVERYTHING TO HAVE A FRESH AND ALIVE CONNECTION.
A great mentor of mine said; "it's not what you do, it's the reason why you do it". So a person might have strong personal reasons why they need to keep on trying for 'the job'.
An orchestra job is a particular type of job that is governed by the fashion of playing currently in vogue. People are very easily impressed by 'perfect' rhythm, pitch and accuracy. Put a 'beautiful' tone on top of that sprinkled with the 'appropriate' amount of the condiments of dynamics and style, and you will stand out as a gem. An excellent key on the orchestral keyboard. Not an easy task to accomplish! It takes a TON of hard work, determination and talent to achieve that kind of standard.
Here is the big BUT; not everyone can take their playing and push it into that narrow space of expression and tone. This is more of the case with brass and woodwind players. It seems that strings are 'allowed' to have a big spectrum in general including in the orchestra while winds and especially brass, need to be more conservative. Is this the 'correct' role and function of each section? Maybe….BUT!
Perhaps those of us who cannot just have our whole soul based in that realm will eventually break free of that prison and form new groups and orchestras. Certainly a lot of the music written now calls for a very extreme dynamic and expression range. At the same time, the criteria for getting into an orchestra now and playing mostly the 'classics', calls for even tighter control over the emotions and technique. ( I don't think this was the original intention of the composers and has worsened due to the digital era of virtual reality). A very interesting comparison. Perhaps the 'new' music of today is getting very tired of that narrow box and the orchestral- classical- box is getting frightened and is clinging more than ever to its proper, clean and good mannered playing. It is clinging for it's dear life so much so that it is choking itself to death. We will see what evolves in this unfolding drama of music in the future. The future is actually here now.
This post was inspired by a couple of things. One strong influence was seeing my son Ben's new music group called "Holographic" last week in Bloomington Indiana. Ben is co-founder of the group and conducted several of the pieces. The compositions were outstanding, the musicians were terrific and Ben's conducting was superb. What was truly catching about the evening, was that I had never heard these pieces before. I was 'free' to hear them without prior comparisons or preconceived ideas of 'how' it should go. It was very invigorating. Maybe the 'classics' need a fresh approach that is connected to the SPIRIT of the music instead of a very overly studied and stifled rendition. I think 'classical' musicians need to loosen up a bit frankly.
THERE IS ALWAYS ROOM IN EVERYTHING TO HAVE A FRESH AND ALIVE CONNECTION.
Wednesday, March 14, 2012
SATISFACTION METER
It is interesting to see how soon someone gets satisfied with their playing. Some people are never satisfied totally. Some get satisfied with their standard quickly. I find this is directly related to the power of the desire to improve and the willingness to work for it.
Here are some good questions to ask oneself:
*How much are you willing to search, try, experiment with locating and tuning into the expression and meaning of the music? If you feel that it gives up, what is giving up?
*Is it easier for you to hear technical flaws in pitch, rhythm, tone or clarity?
*Do you feel a sense of satisfaction at the end of a practice session regularly?
*Where and when do you feel the most satisfied? How and what made you feel satisfied?
*What artists or concerts make you feel satisfied?
* Is it important to feel satisfied all the time?
* What do you do when you are not satisfied in a practice session?
1. How do you handle it?
2.Can you spot why you are not satisfied?
How do these questions make you feel?
Here are some good questions to ask oneself:
*How much are you willing to search, try, experiment with locating and tuning into the expression and meaning of the music? If you feel that it gives up, what is giving up?
*Is it easier for you to hear technical flaws in pitch, rhythm, tone or clarity?
*Do you feel a sense of satisfaction at the end of a practice session regularly?
*Where and when do you feel the most satisfied? How and what made you feel satisfied?
*What artists or concerts make you feel satisfied?
* Is it important to feel satisfied all the time?
* What do you do when you are not satisfied in a practice session?
1. How do you handle it?
2.Can you spot why you are not satisfied?
How do these questions make you feel?
Monday, February 20, 2012
TEACHER'S LOG, SCHOOL DATE 2-20-12
more on habit
Depending on the natural inclination and passion of the student, keeping what's naturally expressive is important in the midst of working on improving technique. A habit can seem 'natural' when in reality it is a reflex or a reaction to a set of certain physical-psychological balances. Then during the repetition of the action, can turn into a 'hardened' habit which sometimes people call their 'second' nature.
A fall back situation, (habitual- comfort- zone) are often seen and felt as 'second' nature. A natural inclination towards needing and/or wanting to express oneself, (on an instrument and in other areas of life probably as well), most often will not get lost while working on refining and developing more technical control. BUT, if the student has a teacher that has an extremely tight and narrow idea of how an instrument or piece 'should' be played, it can interfere with the natural talent and become very destructive to the student who needs to express themselves personally in their music making.
This is why, in my view, working on technique needs to have at least the prime element of music involved which is movement. Not just metronomic mono rhythm, but fluid directional movement. Then the expressive player can channel the energy into that movement and find it's musical substance even if the 'spirit' of the exercise is on the drier side. It can still have grace, momentum, vibrancy and other qualities. That is why I often think of being an actor that has many modes of behavior when I play. When doing that, my playing always is energized whether it is an Arban's study, a dry staccato Stravinsky note, an excerpt or a prayer. It's all in the connection.
Depending on the natural inclination and passion of the student, keeping what's naturally expressive is important in the midst of working on improving technique. A habit can seem 'natural' when in reality it is a reflex or a reaction to a set of certain physical-psychological balances. Then during the repetition of the action, can turn into a 'hardened' habit which sometimes people call their 'second' nature.
A fall back situation, (habitual- comfort- zone) are often seen and felt as 'second' nature. A natural inclination towards needing and/or wanting to express oneself, (on an instrument and in other areas of life probably as well), most often will not get lost while working on refining and developing more technical control. BUT, if the student has a teacher that has an extremely tight and narrow idea of how an instrument or piece 'should' be played, it can interfere with the natural talent and become very destructive to the student who needs to express themselves personally in their music making.
This is why, in my view, working on technique needs to have at least the prime element of music involved which is movement. Not just metronomic mono rhythm, but fluid directional movement. Then the expressive player can channel the energy into that movement and find it's musical substance even if the 'spirit' of the exercise is on the drier side. It can still have grace, momentum, vibrancy and other qualities. That is why I often think of being an actor that has many modes of behavior when I play. When doing that, my playing always is energized whether it is an Arban's study, a dry staccato Stravinsky note, an excerpt or a prayer. It's all in the connection.
Monday, February 13, 2012
TEACHER'S LOG, SCHOOL DATE 2-13-12
To change or even slightly alter deep ingrained habits, takes real determination and constant vigilance. It is a whole process and can be expedited by having a notebook of what you want to change written down in it and then remembering to look at it before each practice session. This will help. The important thing to realize is that what we do automatically has become unconscious or semi-conscious. With each action there is a certain speed that is going on. If we alter our speeds, usually be slowing down and deliberately thinking about what we are doing and what we want to accomplish, can help assist in retraining our systems towards our desired goal.
This takes time and should not be rushed. If it is approached daily, with thoughtfulness and care, it will change quicker than trying to force it at a faster speed than it wants to go. Being consistent and regular with our efforts is the key.
A great mentor of mine used to say, "Go slow to go fast." It is true. If we do not, we will eventually have to spend time undoing the new not so great habits we developed trying to improve the old ones we were trying to change.
A habit has attached to it a physical, a mental, and many times an emotional component. That is why taking our time in changing old ways is so important. There is never just one thing. One thing is always attached to other things. With attentive practice, one will start to see much. It is well worth the investment of time accompanied by a supportive attitude to change habits that block our desired goal.
This takes time and should not be rushed. If it is approached daily, with thoughtfulness and care, it will change quicker than trying to force it at a faster speed than it wants to go. Being consistent and regular with our efforts is the key.
A great mentor of mine used to say, "Go slow to go fast." It is true. If we do not, we will eventually have to spend time undoing the new not so great habits we developed trying to improve the old ones we were trying to change.
A habit has attached to it a physical, a mental, and many times an emotional component. That is why taking our time in changing old ways is so important. There is never just one thing. One thing is always attached to other things. With attentive practice, one will start to see much. It is well worth the investment of time accompanied by a supportive attitude to change habits that block our desired goal.
Sunday, February 5, 2012
TEACHER'S LOG, SCHOOL DATE 2-5-12
Looking at What is Control
some thoughts
When someone is 'out of control,' what are the characteristics emotionally, mentally, verbally, physically? If someone is drunk or impaired in some way behind the wheel of a car, that person presents a danger and a hazard to others being on the road driving. They weave in and out of their lane, speed up or slow down at odd and strange times, don't obey the traffic signals and on and on.
So if someone is out of control in their playing, what does that mean? Are they a danger or a threat to other musicians in the ensemble? Do they not 'obey' the musically notations and do random things and act in their own timings regardless of what it says on the page? Do they not have the ability to hold notes steady and place their articulations evenly? Are they limited in their dynamic contrasts? If these are signs of being out of control, what are the causes?
Perhaps a very important question to ask is "What is controlling the person?"
There is an interesting relationship between concentrate, center and control. If someone is not in a stable place in themselves, or they can't find their 'center,' control can be challenging. If a person is unable to concentrate, (act on center), then loosing ones place in the music and other things can start to go awry.
Control is being able to do what we need to do, in the way we want to do it, when we want to do it (or have to do it in the way someone else wants us to do it).
Control is having the ability to do something effectively.
Control has a spectrum of skill or lack there of.
Control is a harmonious relationship between our mind and body where they both work in synchrony with each other. (Coordination is an important ingredient in having control).
Control is being able to stop or go when we want or need to.
Control is in the transitions.
Control is not a small little tight box with hardly any room to breathe.
Control is not limited to certain dynamic contrasts or tone colors.
Control is having flexibility to change and move beyond our comfort zones when needed.
Control is conscious will in our actions that can be used in the attainment of our pursuits.
Having control is being be able to function with quality and to perform actions in accordance to what is called for in any given situation.
Study the relationship between skill and control. Can you have skill without control? Don't think so!
Think of many situations that call for control. To control our temper. To control our eating and drinking. To be in control of a situation.
To NOT control our friends or colleagues.
Control is having command over voluntary and involuntary systems. (Having control over our bladder is a good example)
If having control becomes a prison, then where does freedom come into it? Having freedom to be able to do, is this control?
If control becomes a musical concept and school of playing, is it attuned to the essence of the music? The finest control is to be open to the essence of the music beyond our biases and then have the assembly, musically and technically, to deliver it. This is where training physically, mentally and emotionally are important. All three are important because just having physical expertise will not bring the music to life. A person typing someone else's poetry does not make them a poet.
some thoughts
When someone is 'out of control,' what are the characteristics emotionally, mentally, verbally, physically? If someone is drunk or impaired in some way behind the wheel of a car, that person presents a danger and a hazard to others being on the road driving. They weave in and out of their lane, speed up or slow down at odd and strange times, don't obey the traffic signals and on and on.
So if someone is out of control in their playing, what does that mean? Are they a danger or a threat to other musicians in the ensemble? Do they not 'obey' the musically notations and do random things and act in their own timings regardless of what it says on the page? Do they not have the ability to hold notes steady and place their articulations evenly? Are they limited in their dynamic contrasts? If these are signs of being out of control, what are the causes?
Perhaps a very important question to ask is "What is controlling the person?"
There is an interesting relationship between concentrate, center and control. If someone is not in a stable place in themselves, or they can't find their 'center,' control can be challenging. If a person is unable to concentrate, (act on center), then loosing ones place in the music and other things can start to go awry.
Control is being able to do what we need to do, in the way we want to do it, when we want to do it (or have to do it in the way someone else wants us to do it).
Control is having the ability to do something effectively.
Control has a spectrum of skill or lack there of.
Control is a harmonious relationship between our mind and body where they both work in synchrony with each other. (Coordination is an important ingredient in having control).
Control is being able to stop or go when we want or need to.
Control is in the transitions.
Control is not a small little tight box with hardly any room to breathe.
Control is not limited to certain dynamic contrasts or tone colors.
Control is having flexibility to change and move beyond our comfort zones when needed.
Control is conscious will in our actions that can be used in the attainment of our pursuits.
Having control is being be able to function with quality and to perform actions in accordance to what is called for in any given situation.
Study the relationship between skill and control. Can you have skill without control? Don't think so!
Think of many situations that call for control. To control our temper. To control our eating and drinking. To be in control of a situation.
To NOT control our friends or colleagues.
Control is having command over voluntary and involuntary systems. (Having control over our bladder is a good example)
If having control becomes a prison, then where does freedom come into it? Having freedom to be able to do, is this control?
If control becomes a musical concept and school of playing, is it attuned to the essence of the music? The finest control is to be open to the essence of the music beyond our biases and then have the assembly, musically and technically, to deliver it. This is where training physically, mentally and emotionally are important. All three are important because just having physical expertise will not bring the music to life. A person typing someone else's poetry does not make them a poet.
Saturday, January 21, 2012
TEACHER'S LOG, SCHOOL DATE 1-21-12
Expansion of sound exercise
1. Play a comfortable note.
2. Feel the note resonate in your feet.
3. Then continue that feeling all the way up to the top of your head.
4. Feel your whole body resonate with that note.
5. Then expand that feeling of resonance all around you as if that resonance IS your body.
6. Keep going a bit at a time, expanding inch by inch with your 'sonic body' expanding until it fills the whole room you are in. Until the whole room IS your 'sonic body.'
7. This can continue until it goes outside of the room. But the room is a good place to start!
Try it on different notes, just for 5 or so minutes a day.
Then start using it on solos or certain excerpts.
** Make sure to really fill ALL PARTS of your body with the sound. From the back of your head, to your armpits and all the way to the soles of your feet. Even your hands and in between your fingers. (Knee caps too!). It will open up all sorts of things about resonance, your body, air and more!
1. Play a comfortable note.
2. Feel the note resonate in your feet.
3. Then continue that feeling all the way up to the top of your head.
4. Feel your whole body resonate with that note.
5. Then expand that feeling of resonance all around you as if that resonance IS your body.
6. Keep going a bit at a time, expanding inch by inch with your 'sonic body' expanding until it fills the whole room you are in. Until the whole room IS your 'sonic body.'
7. This can continue until it goes outside of the room. But the room is a good place to start!
Try it on different notes, just for 5 or so minutes a day.
Then start using it on solos or certain excerpts.
** Make sure to really fill ALL PARTS of your body with the sound. From the back of your head, to your armpits and all the way to the soles of your feet. Even your hands and in between your fingers. (Knee caps too!). It will open up all sorts of things about resonance, your body, air and more!
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