 The Clarinet BBoard
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Author: Sylvain
Date: 2014-04-14 18:03
If you don't already subscribe to his newletter I highly recommend it. I think his latest post about a series of Masterclasses by cellist Frans Helmerson had some really good gems.
http://www.bulletproofmusician.com/five-ways-to-turn-the-music-up-to-11-and-turn-down-anxiety-in-the-process/
The idea of expanding "your expressive toolbox via self-handicapping" was very interesting. For example "What if you couldn’t use a crescendo to express an increase in intensity? What else could you use? How else might you express the same character or emotion?"
He also reinforced some of the qualms I have with relying solely on oral tradition when working on a standard repertoire piece: "In listening to the great recordings of yesteryear, we learn a lot, but the downside is that we end up riffing off of one version or another and over time get increasingly further away from what is actually printed in the score."
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Sylvain Bouix <sbouix@gmail.com>
Post Edited (2014-04-14 22:58)
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Author: fskelley
Date: 2014-04-14 18:24
I thought perhaps this was about player safety in seedy venues, probably more of an issue for jazz/pop/country players than classical. Unless you're the PDQ Bach guy playing in a studio in a bad part of Los Angeles- I can't remember which album that was from.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2014-04-14 19:22)
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Author: Ursa
Date: 2014-04-14 19:09
Stan, I'm sure you're referring to the selection entitled "The Maid of New Orleans" from the PDQ Back album "The 1712 Overture". And the studio that got "hit" was in East Los Angeles...where Prof. Schickele gives Burt Bach a rock.
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Author: fskelley
Date: 2014-04-14 19:26
Thanks, Greg. What I remember from that track was how in spite of the automatic gunfire in the background, the musicians stayed on task and did not miss a (classical) beat. Again I would love to hear horror stories- what's the worst thing you and your music colleagues managed to ignore and not let detract from your music? Rodents? Falling debris? Insects? Pesky children? Jackhammer?
Sorry Silvain. Now I have to go follow your link and I'm sure I will learn something good.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2014-04-14 21:59)
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Author: fskelley
Date: 2014-04-14 19:43
#5 is a toughie for me. First, anything I've played hundreds of times tends to get set into a particular interpretation. That's good in the sense that I can polish to the very best of my ability, but it may limit me from things I might have chosen differently had I done so at a more advanced stage of my musical development. I do find changes slipping in (sometimes surprisingly and happily), but I need to encourage them more deliberately.
And second, I have always been reluctant to listen too carefully to other musicians' interpretations of anything I'm working on as a permanent part of my own repertoire. It's too easy to do the same things, even by accident. I probably unfairly prevented myself from composing new tunes- for my entire life- out of fear I would just repeat phrases or entire songs from my unconscious memory. George Harrison "My Sweet Lord" / "He's So Fine".
Stan in Orlando
EWI 4000S with modifications
Post Edited (2014-04-14 19:45)
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