Approach to Musical Expression and Ensemble Playing
Ms. Fuchs used to say, "I've spent sixty years exploring this music, now you can stand on my shoulders in finding your own way. You don't need to start from scratch with these complex works of art." When I asked to record lessons, she replied, "Oh, dearie, we don't need another Ms. Fuchs. You will take these ideas in finding your own way."
My goal is to offer you the principles behind a variety of approaches for building your own path.
Consistently at the heart of the greatest coachings and masterclasses I've experienced was an approach of exploration and giving a fair trial to a variety of ideas. There usually is more than one great way to play a passage. A great classical performer - as a great jazz player - has tried so many approaches that, in performance, there are a number of great choices at every moment - and new ones to be discovered! A musical conversation with room for fresh improvisation is likely to be more interesting than another repeat recital of decision made long ago - more interesting for player and audience alike!
All guidelines have exceptions, because the expectation of the rule gives power to the occasions of not following it. The rule is for a default tendency a musician can apply even when sight-reading, to always play expressively.
Often, in coaching ensembles, I hear, "First we'll get the notes and get it together, then we'll add the expressive details. This is backwards, and rarely works as intended. With a new piece, expressive ensembles usually don't worry about how together they play until they have explored the expressive potential. Then they have meaningful phrasing to fit together.
Make expressive playing your approach - habit - from the moment you pick up the instrument. Expression will help you through the details. It's much easier to work out the details than making decisions on the much broader possibilities of emotional content. Like a good story teller, it's how your fit the phrases together that make the story - "The seams are where the music happens."
My goal is to offer you the principles behind a variety of approaches for building your own path.
Consistently at the heart of the greatest coachings and masterclasses I've experienced was an approach of exploration and giving a fair trial to a variety of ideas. There usually is more than one great way to play a passage. A great classical performer - as a great jazz player - has tried so many approaches that, in performance, there are a number of great choices at every moment - and new ones to be discovered! A musical conversation with room for fresh improvisation is likely to be more interesting than another repeat recital of decision made long ago - more interesting for player and audience alike!
All guidelines have exceptions, because the expectation of the rule gives power to the occasions of not following it. The rule is for a default tendency a musician can apply even when sight-reading, to always play expressively.
Often, in coaching ensembles, I hear, "First we'll get the notes and get it together, then we'll add the expressive details. This is backwards, and rarely works as intended. With a new piece, expressive ensembles usually don't worry about how together they play until they have explored the expressive potential. Then they have meaningful phrasing to fit together.
Make expressive playing your approach - habit - from the moment you pick up the instrument. Expression will help you through the details. It's much easier to work out the details than making decisions on the much broader possibilities of emotional content. Like a good story teller, it's how your fit the phrases together that make the story - "The seams are where the music happens."
Basic Tenets of Musical Expression
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Basic Tenets for Ensemble Playing
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