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Doublereed Archive - Posting 000064.txt from 2006/11
From: philfrei@-----.com
Subj: [DR-L] music analysis for the performer and teacher
Date: Wed, 15 Nov 2006 09:14:16 -0500
Hi -
Richard: A really good example of the use of analysis is presented in
the text of Ferrillo's book of orchestral audition excerpts (with piano
accompaniment). He discusses a method of learning an excerpt by
analyzing it to reduce/simplify the excerpt to the most important
tones. This, one progressively adds greater detail to the excerpt. His
analysis reminds me a bit of Schenker, but I don't think that is
exactly what he is doing.
I think this could be a very helpful approach to gaining technical
proficiency. In fast passages, notes whiz by like the stripes on a
highway when you look directly down at the road. The
simplification/reduction methods are a way of looking further ahead on
the road, where the approaching stripes don't seem to move so fast.
With a bit of "look-ahead" one has more time to set up for the various
technical challanges. Also, one isn't taken by surprise by any
unanticipated turns or obstacles.
Hinrich: I think this book is also as good a source as any for
"standard" orchestral audition excerpts.
- Phil Freihofner
Date: Mon, 13 Nov 2006 01:07:50 -0800
To: doublereed@-----.org
From: Hinrich <hlmuller@-----.com>
Subject: Re: [DR-L] music analysis for the performer and teacher
Message-Id: <dee9dbf937c7ae574e89b14d94ab76d6@-----.com>
On Nov 6, 2006, at 18:06, Richard Ramey wrote:
> Hi, everyone:
>
> I'd like to ask your opinion about music analysis and how you use it
> as a teacher and performer. We all do it as performers/teachers, but
> I'm curious as to the specifics of each individual....Richard Ramey
>
>
> 1. What role does music analysis play in your life as a performer,
> teacher?
A big role.
>
> 2. As a teacher, do you introduce, to your students, the idea of
> harmonic analysis, picking out chord members so that correct voicing
> is accomplished?
Yes. I also find melodic analysis helpful.
>
> 3. Do you talk about form in etudes, solos, etc.?
Always.
>
> 4. As a performer, how do you use analysis in the preparation and
> peformance of various works for orchestra, chamber, and in solo
> situations?
Studying the form helps me with phrasing; I find harmonic analysis most
important in chamber music and solos.
Hinrich
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