Klarinet Archive - Posting 001432.txt from 2000/12

From: rgarrett@-----.edu
Subj: Re: [kl]Being a Musican, Actor, Dentist, Attorney, etc.
Date: Sun, 31 Dec 2000 17:06:57 -0500

"The point was that through the happy accident of hitting my own centre,
everything I'd been taught in the past eighteen months made sense because
now I had felt it for myself. The circle was now complete. The
intellectual understanding fused with the sensation. Not only was I doing
the right thing, I knew what it was, so I could do it again. And
again. It was mine."

And so it is with any great creative endeavor. We make our breakthroughs
by ourselves - no one telling us how, no one explaining that in order to
accomplish this we must do that..........

But in the end, his moment of accidental realization was not without
"everything [he'd] been taught in the past eighteen months......." Now I
know that Tony Pay has already posted again - and mentioned that for
Callow, this was true - but but perhaps not always for everyone. I believe
he said:
"And I maintain, that isn't a technique, because it needs to be
approached in a different
world from the world of technique. And the shift between the two
worlds can occur at
any time. Callow puts it well, I think......."
In this context, Tony hit the nail on the head - and said it well. I very
much appreciate that clarification - because for me, until this point, the
discussion of technique was a bit too ambiguous - as though learning
technique must somehow come out of the music - when in fact, it can go
either way. I couldn't agree more with the notion that, at any age,
realization of that moment can happen - and is absolutely the end
goal! And it can happen without much technique with the right piece of
music and the right person at the right time.

Just to discuss for a moment the "breakthrough" as Callow uses
it.............it would seem to be no different in many other walks of
life. For example, an attorney can be taught how to interpret the law, how
to search for the case law to interpret and apply to current case, how to
put in order a motion, but in the end, it is his creative genius (combined
with the written law) that will allow him to win the motion, case,
whatever. His ability to merge his creative intellect with his
interpretive powers will allow for the persuasive argument that might edge
a win. The outcome of his performance in court - practiced, memorized, but
with room for improvisation - will be dependent upon his ability to become
one with the law and therefore represent it in moments where anything can
happen.

Music performance could be characterized as becoming one with the
music. Because you ARE the music - you present yourself in performance,
thus you present the music. This is a "breakthrough" that is
often recognizeable only by those who have done it - and is difficult, if
at all possible, to teach. In fact, many claim it can't be taught. After
all, how does one teach a breakthrough or experience? A person experiences
a breakthrough - often because of a realization that occurs at a single
moment - and is painstakingly clear - almost painful in its clarity. You
can lead students to these moments - but they must be ready to experience
them - or the moment passes them by. In teaching music, I believe that the
best teaching always includes this element for the student.

One other very interesting thing to come from Tony's most recent post:
"Actors have a different set of rules, because it's obvious when
someone is just
going through the motions *as a character*. Musicians get away
with going
through the motions rather more easily, unfortunately."
I occasionally use acting as an example in my studio - when a student is
trying to play a phrase but it sounds terribly mechanical. So I was very
pleased to see Tony mention the perception above. How would it sound
if the student was on stage saying, "I love you," to the romantic
character, but said it mechanically? While it usually provokes an
embarrassed moment for the student, it is amazing how it affects her next
attempt. Sometimes it is not just about feeling and being able to express
so personally and completely, but being willing to do it all the time -
whether it is in a practice room, a lesson, or on the 3rd clarinet part of
a march. It is a different mindset than getting out the horn and playing
long tones - and only long tones. Funny how long tones themselves can be
musically inspiring when the mind is set in this way!

Tony Pay - thank you for posting Callow's quote - it is helpful in
determining, for me (and I am sure many others), what it is you have been
trying to say. I especially appreciate that your posting is missing prose
regarding where technical work lies in relation to the "end result" - and I
mean that sincerely. Regardless of a person's strengths in what they do,
there can be good realized from any focus - even if it helps only one or
two people out who subscribe to the list.

One last thing - as Tony mentioned that he is not Neil's enemy - I would
point out that I am not Tony's either. I don't really believe Tony is a
Sherman Tank as he implied perhaps that he was unfairly labeled, nor do I
always believe that he is wanting to be right - well, maybe when he posts
regarding me! But, that having been said, while we all share certain
aspects of the labels that Bramson created in his book, frankly, it would
be difficult to put an exact label on anyone - it just wouldn't work - nor
would it be honestly descriptive. Everyone has much to share - and Tony,
contrary to what you may think, I read your posts first before responding -
and if it is a post that I like or have no reason to respond to (other than
to simply agree), I let it go.

To Tony Pay - we are in the last days of the year 2000. I look forward to
your future posts - and I hope you sincerely accept my honest and sincere
best wishes for all good things for you in 2001!

Sincerely,
Roger Garrett

Roger Garrett
Assistant Professor of Clarinet
Director, Symphonic Winds
Advisor, IWU Recording Services
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
Phone: (309) 556-3268
Fax: (309) 556-3121

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