Can classical music survive in a world where orchestras fail and concert attendance dwindles?
Two dismaying things happened to me this weekend. The first came in a casual conversation, in which two people attempted to persuade me that classical music and attending concerts is a high-brow, elite and upper class thing. Every fiber of my being resists this idea, but the nagging fact persists that classical music is not widely embraced in our society.
The second dismaying thing was the news that both of Minnesota’s orchestras are now locked out in labor disputes. On Sunday, the St. Paul Chamber Orchestra joined the Minnesota Orchestra, which has been locked out since October 1 after the players’ union rejected what management termed their “final offer.” For at least the next two weeks, there will be no concerts from either of these world-class ensembles.
And this is far from an isolated incident. This “orchestra graveyard” in...
This post follows up on a previous post about phrasing. Here I describe what is arguably the best system for teaching phrasing I ever came across, and how you can practice to make your phrasing more meaningful and expressive.
When I was a student at Curtis, I learned from my wind player friends about the amazing technique for phrasing and legato they were learning in their lessons and in wind class. They were excited by the power in its systematic approach to one of music’s most expressive elements. They were learning the Tabuteau system.
Marcel Tabuteau (1887-1966) was a French oboist. He came to the U.S. in 1905 at the invitation of Walter Damrosch. In 1915 Tabuteau joined the Philadelphia Orchestra as its principal oboist, and in 1924, he founded the oboe department at the Curtis Institute. He is generally credited with establishing the American school of oboe playing. His students included John de Lancie, Robert Mack, Harold...
“I don’t need words — it’s all in the phrasing.” – Louis Armstrong
How to phrase in music can be difficult to talk about and to teach. I would like to share three things you should know about phrasing, along with some practice tips to improve your phrasing.
1. Phrasing is inflection. Inflection is what makes the meaning of our words or music clear. The simple sentence,”I said no,” can take on three different meanings depending on which word we emphasize. “I said no,” not someone else. “I said no;” I already told you. Or “I said no;” no, you may not. In the same way, the inflection we choose for a melodic line gives it meaning for the listener. We make our choices based on our understanding of the entire piece.
Here’s an easy exercise to practice putting inflection into your playing. Start with the sentence, “She told me he didn’t...
Today’s fast pace and shorter attention spans make it easier than ever to feel stuck in a rut. Within a week after we return from a vacation, we can find ourselves feeling uninspired, unmotivated and dull. Building on an idea from a previous post on this blog (Move That Mountain – Do One Thing), I would like to offer this suggestion: change one thing.
When I was little, back in the pre-digital toy age, I use to love to play with kaleidoscopes. These cardboard tubes contained endless changing designs inbeautiful colors.All you had to do was to point it toward a light and turn the tube. The colored beads inside miraculously arranged themselves into fabulous symmetrical patterns. It was definitely not a dull world inside the kaleidoscope.
The trick of the kaleidoscope was that the materials inside never really changed. The beads just fell as I turned the tube; it was the mirrors inside that created the patterns and made it all seem new...
Sometimes we have a task before us that seems to much to tackle. All we see is a big mountain of work and we don’t know where to start. The secret to creating momentum and getting the job done is simple and only one step – you just need to do one thing.
The inspiration for this came from a blog post by author and thought leader Seth Godin. Seth is the author of best-selling books like “Tribes” and “Purple Cow”, among others. I have found his books compelling and totally in tune (if you will pardon the musical expression) with today’s world, online and off, and I subscribe to his daily blog.
Not long ago, he posted “The Simple Power of One a Day.” He reminds us that there are at least 200 working days in a year, and if we just did one marketing task each day, we would make astounding progress by the end of a year.
I believe this is a useful approach to anything we...
It sounds delightful, boosting your technique in just five minutes with no stress. When you think of any of the famous exercise or etude books that you may have studied, one image probably comes to mind: a dark page full of ink representing a lot of notes, notes in finger-bending combinations to be performed at lightning speed. And though I know that I’m a better harpist for having learned my LaRivière, I have come to an appreciation of a different approach to refreshing my technique on a daily basis.
I need to issue a major disclaimer here. I am a dedicated fan of Salzedo’s “Conditioning Exercises,” and I use them regularly to keep my technique at its best. But this article is about those times when I want to take things a little easier, or I’m already doing enough heavy playing to keep my fingers in shape, and they just need a little TLC. If you’re feeling over-worked or your fingers...
You’ve heard the expression “I don’t do…whatever.” Well, harpists have their own special do’s and don’ts, things we can or can’t do because we play the harp. We have peculiar ways of looking at the world and music. Here are a couple of examples:
We DO ramps. We DON’T do spiral staircases.
We DO Tchaikovsky. We DON’T do Beethoven. (If he was really a genius, wouldn’t he have written more for harp? Just kidding…)
We DO minivans. We DON’T do Corvettes – sigh.
We DO drive. We DON’T do public transportation.
We DO fabulous concert shoes. We DON’T do fabulous long fingernails.
Here’s where I can use your help. It’s Monday, and I’m ready for a little humor. (I can hear some of you saying there is very little humor in this, but so be it.)
I invite you to add your do’s and don’ts in the comments below. Or email me and I will add them. Photos are welcome too. I...
This is a re-post of a podcast interview I did last year with Mindy Cutcher, principal harpist of the Pennsylvania Ballet. Mindy speaks about playing for the ballet and specifically the famous “Waltz of the Flowers” cadenza in The Nutcracker. She shares her thoughts and tips on learning and performing the cadenza, as well as some great anecdotes from the pit.
You can listen to the podcast and get a great insider’s take on practicing and performing this standard of the harp repertoire.
For a more detailed practice guide to the cadenza, you can purchase my course on the ARS Musica website. The course is a three-week study guide with written exercises. In Week One, the focus is on understanding the notes and the arpeggio patterns. Week Two develops the technique you need to play the cadenza evenly and smoothly. Week Three works on the melodic and expressive character of the cadenza and helps you put it all together. You can find out more here: ...
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Some people might tell you that a "successful working musician" is a mythical being. But those of us who are successful working musicians know that it is possible with hard work and determination. Those jobs, whether they are wedding gigs or an orchestra chair, don't just fall into your lap. You have to pursue them with a focused strategy.It takes some business savvy to set up and maintain a teaching studio, or to book concerts for your group. Music schools are getting better at teaching students about the music business and how to be business-like in their approach. And there are great books like Donald Passman’s All You Need to Know About the Music Business written to help musicians with the non-music details of being a working musician. But no matter what kind of music you play, or what kind of music business you want to have, there is one important ingredient that many musicians still overlook.
When my students start playing for...