tag:blogger.com,1999:blog-82901444547666146742024-03-08T14:32:55.987-08:00Musical ThinkingMichael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.comBlogger27125tag:blogger.com,1999:blog-8290144454766614674.post-27019150550901747082024-02-05T07:03:00.000-08:002024-02-05T07:03:40.365-08:00Dream Window<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><u><span style="font-size: 12.0pt; line-height: 107%;">Dream/Window
</span></u><span style="font-size: 12.0pt; line-height: 107%;">1985 for orchestra,
by Toru Takemitsu, is a relatively short piece of music as classical music goes—about
fourteen minutes in length. I will not try to describe it or analyze it here,
only to say that I very much like the piece. What inspires me to write this
blog post are some comments that Takemitsu made regarding it.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I had always
taken the title to suggest a window into one’s dreams, but Takemitsu states
that the title is actually taken from the Buddhist name of a Zen priest, Muso Soseki,
who lived in the Muromachi Period (appr. 1336 – 1573). <i>Mu</i> means dream
and <i>so</i> means window.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Muso Soseki
was renowned for designing gardens, and one of his most famous is that of the Saiho-ji
Temple, popularly known as the Moss Temple, in Kyoto. But <u>Dream/Window</u>
is not just about the Moss Temple, its more about the relationship between the
Moss Temple and the entire city of Kyoto.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Takemitsu sees
Kyoto as a very “complex urban space.” He describes it thusly; “In Kyoto a
progressive tendency coexists with an entrenched conservatism, concealing a
dynamism different from that of Tokyo or Osaka. Beneath the hushed serenity of
Kyoto, the gears of change grind on and on without cease. At the core of my
image of Kyoto is this struggle of such opposing tendencies. The name ‘Muso’
(i.e. Dream window) seemed the perfect symbol for this struggle.”</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">An old
saying, “Every stick has two ends.” It’s the very essence of duality that Takemitsu
wants to capture in his piece. He goes on to say, “I use ‘dream’ and ‘window’
as metaphors for two contradictory dynamisms of facing inwards and outwards. To
make the inner and the outer resound simultaneously is the prime objective of
the music.”</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">What catches
my attention most is his aim of ‘simultaneity’. I can easily look inward at
thoughts, images, memories, etc., and I can likewise look outwards at the world
through my senses, but how can I do both simultaneously?</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I remember
an exhibit I attended many years ago of Buddhist art at the Art Institute of
Chicago. One of the sculptures I saw made a deep impression on me and remains a
guiding image of my life to this day. It was of a seating Buddha made of stone about
three feet in height. It was placed in the middle of a hall, and I noticed it
immediately when I entered the hall. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Perhaps
forty feet away, its eyes appeared to be open, but as I walked closer to it, it
began to appear to me that its eyes were closed. This appearance of eyes altering
between open and closed continued as I walked closer. Finally, standing right
in front of it, I saw that its eyes were half open. I am sure that the phenomenon
I experienced was intentional—that the artist knew how to create it.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The half
open eyes suggested to me that one could move through life—experience life—with
one’s attention simultaneously on one’s inner and outer worlds, and that this state
would create a more complete and more accurate experience. Was not Takemitsu
trying to capture this state in Dream/Window?</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>“I use ‘dream’ and ‘window’ as metaphors for
the two contradictory dynamisms of facing inwards and outwards. To make the
inner and the outer to resound simultaneously is the prime object of music.”</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Does
Takemitsu achieve his objective? I guess that is for each listener to decide
for himself. Personally, I find his objective is in harmony with my own
objective regarding life and consciousness in general, i.e. trying to find that
balance between my inner and outer worlds, like the Buddha with half open eyes…<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"> </span></p>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-18510287501896031462024-01-15T07:03:00.000-08:002024-01-15T07:03:31.498-08:00To Emilio Pujol <p> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>Translated from the Spanish by Michael Kovitz</p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">To Emilio
Pujol,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">My very dear
friend,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>I would wish to be a Llobet or a Segovia
in order to speak with dignity about your Guitar Method and respond in a small
way to the very affectionate kindness with which you honor me by asking for a
word of introduction to it.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Though I can add nothing to the brilliant
theoretical and practical teachings for which we are all indebted to you, I
would like to pay homage to that instrument whose home has always been the
resonant atmosphere of the Spanish parlor, but whose history is tied to our own
as well as European music in general.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Admirable instrument, as temperate as it
is rich, it harshly or sweetly knows how to master the spirit. In it, through
the passage of time has been concentrated, like a rich heritage, all the
essential values of noble instruments of former times, without the loss of its
own character, the origin of which it owes to the people of Spain. Of all the
string instruments with fretted necks, the guitar is the most complete and rich
in harmonic and polyphonic possibilities.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>If all these qualities and possibilities
were not enough to reveal its significance, the history of music demonstrates
the magnificent influence of this instrument as a source of transmission of the
essence of Spanish sounds throughout a large sector or the community of
European musical art. With excitement we discover it clearly reflected in the works
of Domenico Scarlatti, Glinka, and your own countrymen the composers Debussy
and Ravel. Casting a glance upon our own music which over the course of centuries
has owed so much to the influence of Spanish sound, it should suffice to recall
as a recent example the superb <u>Iberia</u> left to us by Isaac Albeniz…<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>But let us now return to the work with
which you gratify us. Since the remote time of Aguado we have lacked a complete
method capable of transmitting the technical achievements begun by Tarrega.
You, with your method, achieve this end excellently, and in addition, add your
own magnificent personal contribution benefitting not only the performer, but
also the composer of profound sensitivity who will find in your Method motifs
to inspire the covey of new instrumental possibilities.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>For all of this, please receive my
effusive congratulations the embrace of a true friend who loves and admires
you.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 8;"> </span><span style="mso-tab-count: 1;"> </span>Manuel de Falla<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 8;"> </span><span style="mso-tab-count: 1;"> </span>Granada – December 1933 <o:p></o:p></span></p>Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-79758755312778295422023-12-06T07:25:00.000-08:002023-12-06T07:25:35.524-08:00Rhythm<p> </p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The house of
music has three doors, melody, harmony, and rhythm. Depending on the musical
period and style, these three elements can present themselves in different ways
and in different relationships to each other. In most music, all three doors
lead to the same place, like spokes on a wheel, and all three doors work with
each other to fully express themselves and the music. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Melody manifests
itself in time and hence creates <i>melodic rhythm</i>, and melody can imply
harmonies. Conversely, harmonies can suggest a roadmap for melody to follow. The
progression of harmony through time creates its own rhythm—<i>harmonic rhythm</i>.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Rhythm requires
sound to be heard or felt, hence rhythm in not independent of sound—sound in
the form of pitch and duration. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">It has been my
experience that apart from the study of percussion, the study of rhythm is
often given a backseat in the study of music. Teachers of classical, jazz, and
popular music all too often assume that if the student can count out music
notation correctly and play notes and chords in time, then their work with
rhythm is either complete and that the student can then automatically find <i>the
right feeling </i>of the rhythm on their own. This is especially true in the
instruction of folk, pop, blues, and jazz. Emphasis is placed on the chords and
chords progressions, while the rhythm of the strums and picking patterns is
given short shrift. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Many years ago,
when I was performing on the folk circuit in Chicago, Illinois, my path often
crossed with that of a folk blues artist called Blind Jim Brewer. Jim would
begin and end every set with the same song, <u>I’ll Fly Away</u>. It’s a simple
song and Jim’s guitar playing emphasized the bass notes of the chords on beats one
and three of the measure which he followed with a strong downstroke of the
strings on beats two and four. Both the chords and the strum, often called the
Carter Family Strum, are something that even an advanced beginner can easily
handle. But what could not be duplicated was the effect that Jim’s playing had
on his audiences.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Without
exception, on every occasion that I observed, whether in coffee houses or
college campuses, within moments of him beginning to play this song people
began to smile, tap their feet, and clap along to the music. Little children
would even begin to dance. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">What was it
about Jim’s playing that caused this to happen? I believe the answer lies in
the power and meaning of <i>living rhythm</i>. <i>Living rhythm</i> is
something far beyond playing music in time, it comes within and finds
expression through the body. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I recall
that James Joyce in his, <u>A Portrait of an Artist as a Young Man</u>, said, “<i>Rhythm
in art is the relationship that exists between the whole and its parts, the
relationship that exists between any part and another part within the whole,
and the relationship that exists between any part and the whole.”</i> This definition
applies equally to all the arts, music, poetry, sculpture, painting, and dance,
as well as to life in general, creation, the movement of the stars and planets,
and the proportions of the human body and even the makeup of the mind.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Kahlil
Gibran spoke about Jesus through the character of Mary Magdeline, “<i>When I
saw him in the garden, He moved like none other—he moved as if his every part
loved every part of Himself</i>.” – (paraphrase).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Relationship
and love, they seem to go together, but how does that make us better musicians
and specifically better at rhythm? As a teacher and a musician, it just doesn’t
seem appropriate to leave it at that. There must be some practical way to study
and practice rhythm. Metronomes and counting will only lead us so far. The “play
it like this” approach used by many teachers perhaps takes one a bit further,
but I wonder if the most practical approach may turn out to be the one that at
first appears to be the least practical and the most impossible to teach or
learn, and that is love—love for the music, love for others, and love for
oneself?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Above the
entrance to Meher Baba’s tomb in India is written, “<i>Mastery in Servitude</i>,”
and somewhere in the scriptures it is said, “<i>There was a time when the
kingdom of Heaven could be taken by force, but those days are gone. Now the way
to the Kingdom of Heaven is through love.</i>”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">As a fortunate
teacher and performer of classical guitar, I have had the opportunity to attend
many guitar concerts. I have seen the best the genre has to offer, and I have observed
something very unique about the concerts of Andre Segovia. I saw it manifested
in the audience during intermissions and at the end of his concerts. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Contrary to
other artist’s concerts, during intermissions and after the concert when
leaving the hall and the building, the audiences were generally quite talkative,
commenting and discussing the performer, the performance, and the music, but the
audiences attending the Segovia concerts were different. They tended to be much
quieter, smiled more, talked less, and seemed to be more serene.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I observed
this on many occasions, and I wondered why. I have concluded that the
difference was due to how Segovia came to become a master musician. I believe
he mastered the music by serving it, rather than by force of ego will, in other
words, <i>Mastery in Servitude</i> through love. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Of course,
love cannot be taught, but I have observed that it can be communicated. As
Meher Baba said, love can be <i>caught</i> from those who have it. That love can
manifest itself across all genres of music, it is not limited to the works of
Bach or musicians like Horwitz and Segovia. It can also be found in the simple
folk blues of Blind Jim Brewer and even the simple pop songs and singers of the
1950’s and 60’s.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">So, it is
love that brings the music to life, love that makes melody, harmony, and rhythm
live. Love manifests through the hands and the voice of the musician, through
the body of the musician.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Love and
service are connected. By continuing to serve the needs of the music, by
continuing to sacrifice for the needs of the music, one may gradually learn to
love the music, and when love for the music is supported by successful work
connected to learning the music, living with the music, and playing the music, the
end result is that the musician is raised beyond himself, effaced, as it were,
and the music soars to the highest levels of human endeavor.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Studs Terkel
once asked Andre Segovia why, after becoming a true master of the music, he
still continued to practice scales and other exercises daily. To this question
Segovia replied, “<i>Studs, I know I don’t have to remind you of the story of
Jacob’s Ladder. Even though the angels had wings to fly, they still ascended
and descended the ladder step by step.</i>”<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> (c) copyright, Michael Kovitz, 2023</span><br /></span></p>
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<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><o:p> </o:p></span></p>Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-24166080212134445212023-11-16T07:25:00.000-08:002023-11-16T07:26:11.989-08:00Playing the Guitar<p></p><p class="MsoNormal"><span style="font-size: 20pt; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span><b><u><o:p></o:p></u></b></span></p>
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<p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span></span></p><p></p>Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-68194544865265860522023-11-11T07:34:00.003-08:002023-11-11T07:34:53.802-08:00Triad Inversions Explained<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqMwqjtQ7ckqPbH6fi6tjivxTtELpsrjJbKD4-PO6s0cedc6jd0a4XWoTbSLdVcyT8CYeu4N2ogxftx80VDYAWLMJ2oz0cfPpQZBgyewLRMHLmA2N2l42ASm28brXmgDNHJFDLnPXa8hNoLf_qO29aGwyFyzYZ1e7FbdtFd94XR20kqdiiCzfDPn_zqoFF/s2602/Triad%20Inversions.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="2602" data-original-width="2008" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqMwqjtQ7ckqPbH6fi6tjivxTtELpsrjJbKD4-PO6s0cedc6jd0a4XWoTbSLdVcyT8CYeu4N2ogxftx80VDYAWLMJ2oz0cfPpQZBgyewLRMHLmA2N2l42ASm28brXmgDNHJFDLnPXa8hNoLf_qO29aGwyFyzYZ1e7FbdtFd94XR20kqdiiCzfDPn_zqoFF/s320/Triad%20Inversions.jpg"/></a></div>Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-3872529282226871692023-08-29T06:57:00.000-07:002023-08-29T06:57:09.220-07:00Musical Sanity<p> </p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">An Indian
yogi once told me regarding knowledge, “If you’re thirsty, drink!” Over the years, as a teacher of music and the
guitar, I have had the opportunity to study first-hand the question of thirst
with my students.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I have
observed that all my students seem to come to music and their guitar out of a
thirst for something, and that each of them characterizes that thirst in very
different terms—everything from a way to be popular with their friends, to a
desire to create beauty and meaning in their lives and in the world. Very
different, but I have wondered if there might be a common thread that ties all
these diverse ‘thirsts’ together? <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">And after
decades of teaching hundreds of students, I have concluded that there is a
common thread, and to borrow the word from the old yogi, it is a<i> thirst</i>
for sanity in and through music, but what is this connection between sanity and
music, or more broadly, between sanity and the arts? Let’s first consider
sanity, and what it represents.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">First,
consider the opposite, <i>insanity</i>. Its qualities are disturbed, chaotic,
painful, delusion, unhappiness, speedup, etc. Sanity, on the other hand, is
represented by qualities of lucidity, peace, knowledge, happiness,
understanding, clarity, etc.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">When I was a
child, the only thing that made sense to me was music, not the idea of music,
but music itself. Music was the only thing that calmed me down; it spoke to me
without words; it had the ring of truth; it was mysterious and mystical. Was I
conscious of all this at the time? Could I express it in the way I am expressing
it right now? Probably not, but the sense of it all was there—right from the
beginning. How many times have I observed students arriving for their lessons
in states that could objectively be called insane—minds sped up, dwelling on past,
obsessing about the future—and yet they somehow made the effort to come for
their lesson. Why? How? I must conclude that it is sanity that they are
reaching out for—like a person drowning at sea and reaching out for anything
floating that can save them.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I consistently
do a yearly review with each of my students. We look back over their
accomplishments and disappointments and set some goals and aims for the
following year. After the first year of covid, the year almost everything was
locked down worldwide and people were unsure of almost everything, all my
lessons were conducted online. At the end of the year, I did my usual reviews,
and to my surprise, I noticed that all my students had had very successful
musical years, but even more surprising was that in all the reviews, not one
student even mentioned Covid! Covid had not even touched their music, i.e., their
music had been a real refuge for them in those difficult times.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Music can be
a nearly perfect refuge; it is inherently sane, lucid, self-sustaining, and
independent, but it is affected by external life and the internal <i>baggage</i>
that we bring to it. In and of itself, musical satisfaction is very achievable
given the right student, the right teacher, and the right occasion. The process
itself, though difficult at times, is not all that complicated, confusing, or unreachable,
and all the feelings and perceptions to the contrary are the result of the
personal baggage we bring to the process.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">So, what is
this baggage, and can it be eliminated or at least neutralized to some extent? Simply
put, some of the most common baggage one brings to their music are feelings of
unworthiness, insecurity, lack of self-confidence, unproductive learning habits,
and impatience, etc. Dealing with this baggage, not the music itself, is the
real work of most students and the right teacher can help.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I cannot
even count the number of times I’ve had this same conversation with a student—students
from beginners to more advanced.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Student: “This
should not be taking so long, I’m really frustrated; I’m really slow.”<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Me: “What
makes you say that, on what are you basing your conclusion?”<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">S.: “I just
know…”<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">M: “Look,
I’ve taught hundreds of students. I have a much better perspective from which to
evaluate a student’s progress and I tell you; you are doing just fine; you are
exactly where you need to be. Try to worry less, stay in the moment, and just
stay with the work the stands right in front of you.”<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"> </span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">In my book, <u>From
Silence to Sound – Richard Kyle’s Journey to Musical Competency</u>,<a href="https://d.docs.live.net/0e0a25a38a42f3ce/Desktop/Document/Music%20Blog/Musical%20Sanity/Musical%20Sanity.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
three students are talking about their work with their teacher:<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;">“I really enjoyed listening to you tonight,” I said to Jobe,
“both your wonderful guitar and your incredible story.” <o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;">“Thank you, and I yours as well. Perhaps next time Sara will
share her story too?” <o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;">“My story?” she replied, as we began moving to door. “All I
can think to tell you is my relationship with Mr. Kubadi has given me the
permission to do my work.” <o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;">“The permission to do your work!” Jobe and I repeated in
unison as we pushed open the heavy wooden door and stepped out into the cold
night air.”<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;"> </span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;">An amazing statement when you think about it. You see, as
soon as a student begins to think that they should be somewhere where they’re
not, they lose the ability to be where they are—where they need to be and
sometimes a teacher needs to remind them that they are where they need to be
and that its okay, okay to not worry and to relax into the moment of the work,
hence, the permission to do one’s work.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Of course,
giving oneself permission to do the work is just a starting point. There is
still the question of <i>productive practice, </i>i.e., knowing what to work on
and how to work on it, and the ability to ask and answer the appropriate
questions. Questions are important, they have all the energy, answers kill
questions. But questions need to be appropriate, the better the questions, the
better the thinking, and the better the thinking, the better the practice, and
hence the results. But the ability to ask the right questions at the right time
will be impaired by what I called <i>the baggage</i> one brings to the process.
On all levels and in all spheres, baggage veils the truth. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">This baggage
consists of all the various expressions of self-doubt, feelings of unworthiness,
selfishness, even guilt, and all the various shoulds and coulds, etc. that
surface in one’s thoughts and feelings mechanically, like recordings that go on
and on and can’t be stopped.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"> In fact, these thoughts and feelings can become
so painful and unpleasant as to cause a student to give up the pursuit of his
or her music and the <i>musical sanity</i> that attracted her or him to the
music in the first place. In other words, to, as is said, to throw the baby out
with the bath water. I have observed this with some students. It is sad.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The seat of
all thoughts and feelings is the mind. The mind is vast, powerful beyond
belief, and nearly endless, and for the average person to try to control it
directly is, as Gurdjieff once put it, like trying to jump over one’s own
knees. But the situation is not hopeless.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Over the
years I have learned a couple of things. Thoughts can’t be stopped for very
long, but one can, with intention, create counter-thoughts. For example, if you
tell yourself to not think about blue elephants you will automatically begin to
think about blue elephants, but if you try very hard to think instead about red
elephants, to the degree of your efforts, you will stop thinking about blue
elephants. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The second
thing I have learned is that it is possible to train oneself to not identify
oneself with one’s mind and its projections. I have observed various things
that suggest that I am not my mind and not everything my mind thinks and feels
is necessarily true. It seems that my mind has its own agenda, and that agenda
is all about power and control. Therefore, I can remind myself that I do not
have to act on everything my mind tells me. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">In the
chapter on tuning in my book, <u>From Silence to Sound – Richard Kyles’ Journey
to Musical Competency</u>,<a href="https://d.docs.live.net/0e0a25a38a42f3ce/Desktop/Document/Music%20Blog/Musical%20Sanity/Musical%20Sanity.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a>
Richard, is having a hard time getting his instrument in tune. He admits to his
teacher that his mind is sped up and that he feels slightly sick. His teacher,
Mr. Kubadi, responds in this way:<o:p></o:p></span></p><p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 107%;">“I like
your honesty, Richard, real music demands it and the courage to trust; for when
we really look, we will sometimes see things we don’t want to see. Without
trust we will turn away and miss the place where our work begins. When we
underestimate the starting point, we waste time; when we overestimate the
starting point, the work loses traction and goes nowhere. Tell me Richard,
where does your work begin?”<o:p></o:p></span></i></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Where does my
work begin? This is a question we need to ask with every practice and within
every practice. If we think, for example, that we are further along in a piece
or an exercise then we are, our work becomes ineffective and unproductive. It
evokes the feeling of a bad dream in which one is running away from something
as hard as one ca and yet, is going nowhere.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Some students
make the mistake of engaging their work at an earlier stage in the process.
They go over things they don’t need to, out of habit and insecurity. It’s like
they’re trapped in the past. As Mr. Kubadi says, this wastes time and energy. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Dig deeper
into these mistakes and one will see the cause can be found in all the <i>shoulds,
coulds, desires</i>, etc. one brings to the work, i.e., in the baggage one
brings to the work. This baggage keeps one from being impartial, and impartiality
is an aspect of musical sanity.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">In his book,
<u>God Speaks</u>, Meher Baba states that all that is written by way of an explanation
of God is to appease the convulsions of the mind. In other words, explanations
should not be mistaken for experience—and experience is the goal. Still, a mind
free of convulsions is a great thing. A mind free of convulsions is inherently
sane and with this sanity comes a real inner peace and happiness.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Of course,
this all applies to one’s music. The freer from our baggage our music becomes, the
saner it becomes, and the more joyful, fulfilling, and beautiful becomes its
expression—for ourselves and others.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">But musical
sanity is not achieved easily. It’s much like love, maybe it is love? You can’t
demand love, buy love, or intimidate love—not real love. But you can create
conditions in your life that attracts and nourishes it. As in love, so in music
and the pursuit of musical sanity, there are no rules, formulae, set do’s and don’ts.
Nothing is set in stone. Everyone must find their own way—their own path. When
music is thus won through love, it transcends technique, knowledge, and expectations.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I’ve had the
opportunity in my life to attend many classical guitar concerts. I’ve heard
guitar played at the highest level of the domain and I’ve noticed an
interesting thing. After most concerts, as the audience is filing out of the auditorium,
I’ve heard conversations regarding the ability of the performer, the
interpretation, the greatness of the music, etc. But without exception, after
the concerts of the great Andre Segovia, I mainly heard silence and observed
smiles on the faces of the audience. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">It’s a very
different thing when mastery of the music is achieved by serving it. Others
feel the difference—feel the silence, which is the source of all sound, the
silence which is the source of lasting peace and lasting happiness, the silence
which is the source of real sanity. Is it worth the effort? Does one have the
choice? Perhaps for some, there is no choice.<o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;">“Please tune your instrument, Richard,” he said as he walked
across the room to join me. I tried, but because of my state I was not very
successful and observed myself becoming more and more agitated and confused.
For ten minutes I loosened and tightened strings, but my guitar still sounded
awful. It was useless! Twice I looked to my teacher for help, but he just
shrugged as if he didn’t know either. I was becoming miserable and considered
leaving, but in the depths of my being I knew that there was nowhere for me to
go.”<a href="https://d.docs.live.net/0e0a25a38a42f3ce/Desktop/Document/Music%20Blog/Musical%20Sanity/Musical%20Sanity.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a><o:p></o:p></span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;"> </span></p><p class="MsoNormal" style="margin-bottom: 8.0pt; margin-left: .2pt; margin-right: 2.55pt; margin-top: 0in; mso-pagination: none;"><span style="font-size: 12.0pt; line-height: 107%;"> </span><span style="font-size: 8.0pt; line-height: 107%;">©copyright Michael Kovitz 2023<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"> </span></p><p class="MsoNormal">
</p><div><!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1">
<p class="MsoFootnoteText"><a href="https://d.docs.live.net/0e0a25a38a42f3ce/Desktop/Document/Music%20Blog/Musical%20Sanity/Musical%20Sanity.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
Available through me at, From Silence to Sound142@gmail.com<o:p></o:p></p>
</div>
<div id="ftn2">
<p class="MsoFootnoteText"><a href="https://d.docs.live.net/0e0a25a38a42f3ce/Desktop/Document/Music%20Blog/Musical%20Sanity/Musical%20Sanity.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a> <u>From
Silence to Sound – Richard Kyles Journey to Musical Competency</u>, is
available through me at, fromsilencetosound142@gmail.com<o:p></o:p></p>
</div>
<div id="ftn3">
<p class="MsoFootnoteText"><a href="https://d.docs.live.net/0e0a25a38a42f3ce/Desktop/Document/Music%20Blog/Musical%20Sanity/Musical%20Sanity.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri",sans-serif; font-size: 10.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a>
Ibid.<o:p></o:p></p>
</div>
</div><div style="mso-element: footnote-list;"><div id="ftn2" style="mso-element: footnote;">
</div>
</div>Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-32772678754086681962023-01-19T07:17:00.001-08:002023-01-19T07:17:31.907-08:00Thinking and Reading Music<p> </p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Last Thursday
evening, two students on two consecutive lessons, brought up the questions; what
is music, what should one be thinking about when they are sightreading music,
and what is the difference between playing a piece of music from memory and
sightreading a piece of music? I found this interesting because, for me, these
topics are all connected.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">In the first
lesson, the student, a very talented natural musician, asked me, “What should I
be thinking about when I’m sightreading a piece of music?” I answered by saying
that the answer would be different depended on the level of the musician’s
sightreading, the difficulty of the piece, and whether the musician was reading
it for the first time or after working on it for a while.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">When one
learns a language, they begin by learning the alphabet—the letters. At this
level attention is focused on the letters. When the letters are learned, they
are combined to form words. Now the attention is on the words. Words are then
combined to form sentences and sentences express ideas, thoughts, feelings, and
images. At this level, attention is now focused on the story—the message—the
teaching—and is not at all focused the reading experience. The actual reading
experience has gone from opaque to transparent.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">It is the
same with reading music. First one learns to identify the notes. A note, an
abbreviation for notation, indicate a sound, its pitch, and its duration. At
this level the attention is focused on the notes. Once the notes are learned,
they are combined to form motives, phrases, and melodies. At this level, the
attention is focused on the music and is not at all focused on the reading
experience.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The purpose
of reading music is to access music. For many forms of music, it is the most expedient,
though not the only, way to access pieces of music, technical exercises, and
musical studies. Reading music takes the burden off the need to memorize. But
what does it mean to access music? Here too, there is no one answer, because
what one can access from music notation is dependent on one’s musical knowledge,
understanding, and experience. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">It's like
the fortune teller and her crystal ball. There is nothing in the ball at all,
but what she “sees” in the ball is a projection of her own thoughts, feelings,
intuitions, etc. Focusing on the ball allows her to bring out that which is
already within her. The ball can reveal to her nothing that she does not
already know.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">The notation
of a piece of music is much the same. It contains both explicit and implicit
information, but this information can only be accessed to the degree of musical
understanding of the person reading the music.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Think of an
architectural “blueprint.” The blueprint is not a representation of the
finished product, instead, it is a set of codified instructions regarding how
to build the finished product. But this blueprint, in the hands of someone who
cannot read it or understand, would be useless. Regarding music, a beginner
might only see notes (indicating pitches) and duration (indicating how long the
notes are to be held).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">But a more
advanced musician will “see” and “hear” so much more, like key, phrases,
cadences, harmonic progressions, etc.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">And what
does a more advanced musician think about when they are reading a piece of
music? Again, that will depend on the reason the musician is reading the music.
In a performance, a musician is not really<i> thinking</i> about the music as
much as she is <i>hearing</i> the music emerging from her in real time. She is
like the conductor of an orchestra guiding the musicians through her vision of
the piece. She is not thinking about the mechanics of the process, she is
trusting the musicians to be able to manifest her vision; she is not thinking
about what the chord is, or the type of cadence; she is guiding and hearing the
music in real time—in the present.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">It is much
the same with a musician performing a piece of music. Her mind is the conductor,
her body and her instrument are her orchestra, and she, as conductor, guides
her orchestra through her vision of the piece. Whether she has the score in
front of her or not, at this level it matters not, she could read or not read
at her pleasure. The goal of reading is to bring the music that is outside,
inside.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">And finally,
regarding the question, “What is music?” I think, in the final analysis, though
my answer may not be satisfying to everyone, music is whatever you think it is…
<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 4.0in; text-indent: .5in;"><span style="font-size: 9.0pt; line-height: 107%;">©copyright Michael Kovitz, 2023</span><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 6;"> </span></span><span style="font-size: 9.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-19404191149589966512021-07-26T07:26:00.002-07:002023-11-02T10:02:40.259-07:00The Modes<p> <!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Renaissance music (16<sup>th</sup> century), by lutenist
composers like John Dowland, Luis de Milan, Francis Cutting, and Hans Neusidler
is some of the earliest music found in the modern classical guitar repertoire.
This music is beautiful and its place in the history of the guitar and the
history of music is very significant.<br />
<br />
Since this music is <i style="mso-bidi-font-style: normal;">modal </i>and
utilizes compositional practices quite different than the music of the <i style="mso-bidi-font-style: normal;">Diatonic Common Practice Period </i>(1750 –
1900)<i style="mso-bidi-font-style: normal;">, </i>I believe that for lovers of
early music, and especially the musicians who play this music, it is important
to know something about the modes and compositional practices of those earlier
times. A working knowledge of the modes and their evolution is also of great
importance to lovers of jazz and classical music of the 20<sup>th</sup>
Century. <br />
<br />
First some background: Beginning around 1600, the modal compositional practices
of the Renaissance began a transition towards what we now call Diatonic Common Practice
Music. By 1750, this trend reached fruition in the music of the High Baroque Period,
(as represented by the music of Johann Sebastian Bach, George Frideric Handel,
Domenico Scarlatti, and Antonio Vivaldi). <br />
<br />
But from the time of Bach, the state of the music did not remain static as
composers like Mozart, Beethoven, and Wagner, pushed the boundaries of diatonic
music further and further. Mozart pushed Bach; Beethoven pushed Mozart, Wagner
pushed Beethoven, until by the end of the 19<sup>th</sup> Century, the
compositional practices of diatonic music system had been pushed and stretched
to such an extreme that the two pillars that supported it—the use of clearly
defined major and minor tonalities and the hierarchy of tonic/dominant
thinking—began to crumble under the weight of more and more extensive
chromaticism.<br />
<br />
We can hear and feel this in much of Wagner’s music when it begins to soar, as
it were, into a space beyond major and minor tonalities, beyond keys, and
beyond the tyranny of the <i style="mso-bidi-font-style: normal;">tonic/dominant
relationship, </i>into the <i style="mso-bidi-font-style: normal;">abyss of </i>freedom—the
space that lay beyond diatonic common practice techniques, its sensibilities,
and all that it represented. The music soars over the abyss, but like a kite
whose string is held by the hand of a man who is safely standing on the rim of
the abyss, we hear that time and time again it is reeled in from the abyss to
the familiar footing of Diatonic Common Practice Music.<br />
<br />
Claude Debussy’s music, however, is a different story, for Debussy not only
gazed into the abyss of freedom, but leapt right into it. In the abyss of
freedom there are no rules or procedures, except for those that the composer
imposes on himself. Debussy, like many composers of the 20th century who joined
him and followed him, had to invent the rules and procedures as he went along,
often changing these same rules and procedures when they did not fit a given
musical situation, or context, or evolution in the composer’s musical thinking.<br />
<br />
The music of the early 20<sup>th</sup> Centuries was a time of experimentation,
upheaval, and novelty. The question of what lay beyond diatonic common practice
music had been asked and numerous answers were advanced—some of which took root
and some of which had a more passing influence on the ongoing stream of musical
thinking and practice. But one thing that was fairly consistent among these
early 20<sup>th</sup> century composers and the jazz musicians who emerged near
the middle of the 20<sup>th</sup> Century was their strong reaction against the
rules and techniques of diatonic common practice music leading to new,
self-imposed, practices that had less to do with how music should be written
and more to do with how music should not be written. <br />
<br />
Claude Debussy used <i style="mso-bidi-font-style: normal;">pentatonic</i>, <i style="mso-bidi-font-style: normal;">whole-tone scales</i>, <i style="mso-bidi-font-style: normal;">and exotic oriental modes </i>to create music that broke from the
tradition of clearly defined major and minor tonalities. Arnold Schoenberg
devised <i style="mso-bidi-font-style: normal;">tone rows</i> constructed from
the twelve tones of the chromatic scale and created music that explored the
realm of <i style="mso-bidi-font-style: normal;">atonality. </i>Béla Bartók used
the ancient modes as well as Eastern European folk melodies that led to
melodies and harmonies beyond the reach of diatonic major and minor tonalities
and the <i style="mso-bidi-font-style: normal;">tyranny of the tonic/dominant
relationship.</i><br />
<br />
Modal Jazz emerged in the mid- 20<sup>th</sup> Century with the music of Miles
Davis, John Coltrane, Bill Evans, and others. In this music, the modes were
used to create <i style="mso-bidi-font-style: normal;">non-functional harmonies</i>
free from diatonic associations and enabled the musicians to create melodies
that were free from the restrictions of particular chords and the chord
progressions of <i style="mso-bidi-font-style: normal;">functional harmony.</i><br />
<br />
In the latter half of the 20<sup>th</sup> Century and now, in the early part of
the 21<sup>st</sup> Century, the use of <i style="mso-bidi-font-style: normal;">modal
terminology</i> is popularly used to codify <i style="mso-bidi-font-style: normal;">tonal
regions</i> within diatonic tonalities in order to create new possibilities in
the realm of melodic improvisation in jazz, popular, and even country music.
<br />
Modal music has been around for a long, long time—counting from the Greeks, at
least two thousand years! During that time, modal music has gone through many
transformations and many systems, yet at its core have always been the modes
themselves with all of their various codifications and practices. <br />
<br />
Western music traces its origins to ancient Greece and the time of Pythagoras,
approximately 650 B.C., but the history of Greece and the rise and fall of its
various societies stretch back thousands of years before then, into the second
main division of ancient history named the Bronze Age by the modern historian
C.J.Thomsen. <br />
<br />
In Europe, the Bronze Age began around 2300 BC. Entwined with this
history are the even more remote histories and influences of the cultures of
the ancient Near East and Middle East (approximately 3700 BC). Of significance
is the fact that the arts, sciences, and philosophies, of these cultures were
based upon sophisticated mathematical systems and calculations that later
inspired and informed the arts, sciences, and philosophies of the Greek
civilization during the time of Pythagoras. <br />
<br />
Pythagoras based his system on the mathematical ratio of 3:2 (the interval of a
perfect fifth). These modes were constructed from various combinations of <i style="mso-bidi-font-style: normal;">tetrachords. </i>A tetrachord is a series of
notes that descend an interval of a fourth by <i style="mso-bidi-font-style: normal;">stepwise motion, </i>e.g<i style="mso-bidi-font-style: normal;">.,</i>
(E, d, c, B,) or (E, </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">d flat, c, B,) etc. <br />
By combining the notes of two tetrachords, the original Greek modes were
created. In the following examples, the notes that begin and end each
tetrachord are shown in uppercase letters:</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> Dorian:
<span style="mso-spacerun: yes;"> </span> E, d, c, B, A, g, f, E</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Phrygian:
<span style="mso-spacerun: yes;"> </span>F#, e, d, C#, B, a, g, F#<br />
Lydian:
<span style="mso-spacerun: yes;"> </span>G#, f#, e, D#, C#, b, a, G#<br />
Mixolydian
A, G, f, E, D, c, b-flat, A<br />
Hypodorian
B, a, g, F#, E, d, c, B<br />
Hypophrygian
C#, b, a, G#, F#, e, d, C#<br />
Hypolydian
<span style="mso-spacerun: yes;"> </span>D#, c#, b, A#, G#, f#, e, D#<br />
<br />
In practice, all of these modes would be transposed between E & E, for
example, the Phrygian mode would become e, d, C#, B, a, g, f#, e, the Lydian
would become e, D#, C#, b, a, G#, f#, etc. <br />
<br />
Greek civilization gave way to the power of Rome that brought with new musical
influences, codifications, and systems. Hebrew and Byzantine melodies
(approximately 330 AD – 1400 AD) were derived from <i style="mso-bidi-font-style: normal;">melodic types</i> based upon <i style="mso-bidi-font-style: normal;">melodic
motives </i>that were salvaged from the Greeks and earlier Middle and Near
Eastern musical fragments. By the 12<sup>th</sup> & 13<sup>th</sup>
Centuries (<i style="mso-bidi-font-style: normal;">Medieval Music</i>), research
into these earlier forms and practices was codified into a system of modes and
practices called <i style="mso-bidi-font-style: normal;">Plainsong</i> or <i style="mso-bidi-font-style: normal;">Gregorian Chant. </i><br />
<br />
300 or so years later, Ptolemy again re-codified the modes. Notice that all of
the modes in Ptolemy’s codification follow the same pattern of descending steps
beginning on a different tone, (half, whole, whole, whole , half, whole, whole)
and that the starting notes follow the pattern of a modern-day major scale—in
this case an E major scale.<br />
<br />
These modes transposed to the same tone become:<br />
<br />
Dorian:
E, d, c, B, A, g, f, e, (our modern Phrygian mode)<br />
Phrygian:
e, d, C#, B, a, g, F#, e, (Dorian)<br />
Lydian:
e, D#, C#, b, a, G#, f#, e, (Ionian)<br />
Mixolydian:
E, D, c, b-flat, A, g, f, e, (Locrian) <br />
Hypodorian:
E, d, c, B, a, g, F#, e, (Aeolian)<br />
Hypophrygian:
e, d, C#, b, a, G#, F#, e, (Mixolydian)<br />
Hypolydian:
e, D#, c#, b, A#, G#, f#, e, (Lydian)<br />
<br />
Almost 900 years later, the modes were again codified with credit given to Pope
Gregory the Great and this codification reached a final form by about the 11<sup>th</sup>
century. Notice that this codification bears a closer resemblance to the modes
as taught in the later 20<sup>th</sup> & 21<sup>st</sup> centuries.<br />
<br />
In the following examples, modes I, III, V, & VII are classified as <i style="mso-bidi-font-style: normal;">Authentic Modes</i> and modes II, IV, VI,
and VII are classified as <i style="mso-bidi-font-style: normal;">Plagal Modes. </i>Bold-face
upper-case letters are used to designate the <i style="mso-bidi-font-style: normal;">final.</i> (The final is similar to the <i style="mso-bidi-font-style: normal;">tonic</i> in <i style="mso-bidi-font-style: normal;">Diatonic Common
Practice Music, </i>though it is important to keep in mind that a final and a
tonic or a dominant and a co-final do not have exactly the same significance <i style="mso-bidi-font-style: normal;">with regard to resolution</i> and all that
it implies to the modern musician).<i style="mso-bidi-font-style: normal;"> </i>Upper-case
letters in regular type face are used to designate the <i style="mso-bidi-font-style: normal;">co-final. </i>Notice, that in both the authentic and its corresponding
plagal form the final is always the same, but the co-final in the authentic
mode is a fifth up from the tonal while the co-final in the plagal mode is
always a third down from the co-final of the authentic mode. Additionally, the
common practice of the time would be to move any final or a co-final that was a
half-step below the following degree of the mode to that following note. For
example, in the Phrygian mode, the co-final is placed on C rather than B.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;"> </i><br />
<span style="mso-spacerun: yes;"> </span>(Finals are designated by bold uppercase
letters, co-final by light uppercase letters).</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 12pt;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I.
Dorian:
<b style="mso-bidi-font-weight: normal;">D</b>, e, f, g, A, b, c, d<br />
II.
Hypodorian:
a, b, c, <b style="mso-bidi-font-weight: normal;">D</b>, e F, g,
a
<br />
III.
Phrygian:
<b style="mso-bidi-font-weight: normal;">E</b>, f, g, a, b, C, d, e, <br />
IV.
Hypophrygian:
b, c, d, <b style="mso-bidi-font-weight: normal;">E</b>, f, g, A, b<br />
V.
Lydian:
<b style="mso-bidi-font-weight: normal;">F</b>, g, a, b, C, d, e, f<br />
VI.
Hypolydian:
c, d, e, <b style="mso-bidi-font-weight: normal;">F</b>, g, A, b, c<br />
VII.
Mixolydian:
<b style="mso-bidi-font-weight: normal;">G</b>, a, b, c, D, e, f, g<br />
VIII.
Hypomixolydian:
d, e, f, <b style="mso-bidi-font-weight: normal;">G</b>, a, b, C, d<br />
<br />
<br />
<br />
<br />
In 1547 Glareanus added four new modes to the system—two additional authentic
modes corresponding to our modern <i style="mso-bidi-font-style: normal;">major</i>
and <i style="mso-bidi-font-style: normal;">natural minor</i> scales and their
two plagal variations. These were called <i style="mso-bidi-font-style: normal;">Ionian</i>,
<i style="mso-bidi-font-style: normal;">Aeolian</i>, <i style="mso-bidi-font-style: normal;">Hypoionian</i>, and <i style="mso-bidi-font-style: normal;">Hypoaeolian</i>,
respectively. <br />
<br />
<br />
<br />
IX.
Aeolian:
<b style="mso-bidi-font-weight: normal;">A</b>, b, c, d, E, f, g, a<br />
X.
Hypoaeolian:
e, f, g, <b style="mso-bidi-font-weight: normal;">A</b>, b, C, d, e<br />
XI.
Ionian:
<b style="mso-bidi-font-weight: normal;">C</b>, d, e, f, G, a, b <br />
XII.
Hypoionian:
g, a, b, <b style="mso-bidi-font-weight: normal;">C</b>, d, E, f<br />
<br />
<br />
The most modern classification of the modes based on the key of C Major is as
follows:
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Ionian:
C, D, E, F, G, A, B, C</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">II.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Dorian:
D, E, F, G, A, B, C, D</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">III.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Phrygian:
E, F, G, A, B, C, D, E</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">IV.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Lydian:
F, G, A, B, C, D, E, F</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">V.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Mixolydian: g,
a, b, c, d, e, f, g</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">VI.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Aeolian:
a, b, c, d, e, f, g, a</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">VII.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
Locrian:
b, c, d, e, f, g, a, b </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
<br />
Of practical importance is the need to identify and construct the modes from
various starting points—keys—finals. Towards that end the following techniques
are offered.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: -0.25in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: -0.25in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">1.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
</span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The first to the last note of any major
scale creates the Ionian mode in that key or on that final; beginning with the
second note of any major scale creates the Dorian mode in that key or on that
final; beginning with the third note of any major scale creates the Phrygian
mode in that key or on that final, and so forth with all the remaining modes. </span><span style="font-size: 12pt;">This is particularly useful because of our present
usage of ‘key signatures’ in the notation of modal music.</span> <span style="font-size: 12pt;">For example, a key signature of F#, would not indicate
G major or E minor, but the possibility of the music being in any of the modes
derived from the Ionian mode, i.e. G Ionian, A Dorian, B Phrygian, etc. To find
which mode it is, one only needs to determine the final—which is usually the
last (the final) note or harmony of the piece.</span> <span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: -0.25in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">2.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">
<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 12pt;">Because
of the contemporary musician's familiarity with major and minor scales,</span> <span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">modes can be identified as essentially ‘major’ or ‘minor’.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: -0.25in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Ionian is the same as a major scale. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Lydian is the same as a major scale with raised 4<sup>th</sup>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Mixolydian is the same as a major scale with a lowered 7<sup>th</sup>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Aeolian is the same as a natural minor scale.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Dorian is the same as a natural minor scale with a raised 6<sup>th</sup>.
</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Phrygian is the same as a natural minor scale with a lowered
2<sup>nd</sup>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Locrian is the same as a natural minor scale with lowered 2<sup>nd</sup>
and 5<sup>th</sup>.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; text-indent: 0.5in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">3.</span><span style="font-size: 7pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Modes in any key will have all the notes of a major scale in
that key. For example, the</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: 13.5pt; margin-right: 0in; margin-top: 0in; margin: 0in 0in 0in 13.5pt;"><span style="font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">B
Dorian mode, built upon the second note of the A major scale, has sharps on C, F,
and G, as does the C# Phrygian, the D Lydian, etc.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><br />
Identifying the modes in Renaissance music can be more difficult because pieces
of music often contain notes that are not in the mode, like <i style="mso-bidi-font-style: normal;">accidentals </i>in diatonic common practice
music. Therefore, the following observations are offered with the hope that
they may lead the thoughtful musician not so much to answers, but to deeper
questions regarding the nature of the music they are playing: <br />
<br />
Since the time of Pythagoras, composers have regularly raised the 7<sup>th</sup>
note of any mode by a ½ step to create an interval of a ½ step between the 7<sup>th</sup>
note and the final or key tone of that mode. <br />
Additionally, important cadences are also altered to allow for a ½ step
movement to any cadential note. <br />
Instances are easily found in which the 6<sup>th</sup> note of a mode is raised
as well. <br />
<br />
Mostly, these <i style="mso-bidi-font-style: normal;">allowances</i> are found in
the upper voice, while the lower voice is often more consistent with the notes
of the underlying mode of the piece, therefore, when trying to discern the mode
of a particular piece of music, conflicts should be resolved by giving more
evidentiary weight to the notes of the lower voice.<br />
<br />
And finally, simply put, within any <i style="mso-bidi-font-style: normal;">domain
of possibilities </i>vast differences occur between <i style="mso-bidi-font-style: normal;">theory and practice</i> and, as it has been observed; rules of
composition enable the <i style="mso-bidi-font-style: normal;">less gifted</i>
composer to write competent music, while the greatest of composers have shown
the ability to transcend existing rules and create new possibilities within
their musical domains.<br />
<br />
</span><span style="font-size: 9pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">© Copyright, Michael
Kovitz, 2017</span></p>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-55059425810839686912021-03-22T07:24:00.003-07:002022-04-04T07:20:44.346-07:00Learning to Read Music with Comprehension <p> <!--[if gte mso 9]><xml>
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Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
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<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Reading
music and understanding music are two quite different things. I’ve known
players who read, I’ve known players who understand, and I’ve known players who
do both.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Reading
music without understanding is like learning to read a book without
understanding what you’re reading. For a person such as this, how many books
would they be inspired to read?</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Understanding
music is the most important thing, but without reading, access to new ideas,
concepts, pieces, etc., is a lengthier and more difficult process. So why not learn
to read music with comprehension?</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">I believe
that the central problem lies in the way reading is usually taught. It can be
boiled down to this, “When you see this note it is telling you how to play it
on your instrument, i.e., what pitch and how long to hold it.” This is what I
call rote reading. Rote reading means that you don’t know what the music is
saying or how the music works. It’s like learning to read letters without understand
the words, let alone understanding what those words are actually saying. It
seems absurd that a person would read a book and not know the story, but that’s
exactly what happens with rote reading. Again, I ask the question, for a person
such as this, how many books would they be inspired to read?</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">But what if
a person first learns a musical concept, let’s say natural whole steps and half
steps, and then is taught how those steps are represented in musical notation,
and then how they are created on their instrument? The same process can then apply
to intervals, scales, chords, phrases, etc. In every case, the introduction of
the musical idea precedes the musical notation. Learning to read music in this
way, with comprehension, paves the way to creative and intelligent
interpretation and expression as opposed to merely imitating the interpretations
and expressions of others.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">Andre
Segovia once said, What the world does not need is another guitar player. What
the world does need are musicians and artists who happen to play the guitar.”
Rote reading and rote playing can never transcend the domain of the guitar
player, but reading and playing with comprehension is in the domain of the
musician and it is the domain of the musician that creates the foundation for
the further development and expression of the artist. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;">“<i>A real
artist works at a level beyond both the guitar player and the musician yet
embodies the highest attainments of both. Absorbed in the artistic sphere he
creates works that are enduring and that assists humanity in its ongoing
struggle to free itself from the bondage of ignorance and destructive
self-interest. Through his works the artist, absorbed in the artistic sphere, distills
the lessons of material life and its aspirations, and shapes them into an
expression of life’s universal quest for meaning, fulfillment, and love.” </i>–
<u>From Silence to Sound</u>, by Michael Kovitz, Available from the author at </span><a href="mailto:fromsilencetosound142@gmail.com"><span style="font-size: 12.0pt; line-height: 107%;">fromsilencetosound142@gmail.com</span></a><span style="font-size: 12.0pt; line-height: 107%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"><span style="mso-tab-count: 9;"> </span></span><span style="font-size: 9.0pt; line-height: 107%;">© copyright Michael Kovitz 3/2/21</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%;"> </span></p>
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<![endif]-->Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-57741268925131997712021-01-02T07:55:00.001-08:002021-01-09T07:28:52.738-08:00Productive Practice and the Pursuit of Happiness (Part 1.)<p> <!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
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</p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">The desire
for happiness is woven into the very fabric of our nature and left unimpeded, we
will effortlessly rise to happiness like bubbles to the surface from the depths.
Music can be both an incredible source of happiness as well as the means to
attain it, but who can be happy practicing and playing the same old things
again and again in the same old way without showing any progress? Unproductive
practice impedes process—traps the bubbles and keep them from rising.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">One’s practice
should resemble a spiral—an upward spiral—not a turning around and around in
the same circle. But how to transform the circle into a spiral and create a
happy, healthy, and sustainable musical life? To raise the level of one’s
music, the level of one’s practice must be raised. To raise the level of one’s
practice, the level of one’s thinking must be raised. And to raise the level of
one’s thinking, the level of the questions one asks oneself about one’s work
must also be raised. These questions are more important than answers. Questions
have energy. Answers kill questions. The right questions lead to a productive
practice. But what constitutes a right question? </span></p>
<p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 115%;"> </span></i></p>
<p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 115%;">The
question must be the right question at the right time</span></i><span style="font-size: 12.0pt; line-height: 115%;">. What kind of curtains will we hang
in the living room window is a legitimate question but should not be given
priority over those questions regarding the foundation of the house that is yet
to be built. On the other hand, questioning the efficacy of the foundation is not
an appropriate question to ask after the house has been framed. Everything must
happen in its right order and its right time. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">For example,
a student wants to learn a new piece. Maybe she has heard it before, maybe she
has not. She begins to read through the piece, taking care to not go too fast,
to play the correct notes in the right rhythms, and to use the best fingerings
for both the right and the left hands. After a few reads of the piece, she isolates
and begins to work on some of the more difficult sections of the piece. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">That’s good,
but there are some fundamental questions she may have failed to ask that could
facilitate her work. For example, are we looking at a piece <i>diatonic common
practice</i> music, and, if so, what is the key? <span style="mso-spacerun: yes;"> </span>Not all music is diatonic. Renaissance music derives
from a modal system while much of the music of the 20th century may be atonal,
modal, diatonic but not necessarily diatonic common practice, i.e., not written
within the bounds of the compositional practices which began in the High
Baroque period and evolved through the Classical Romantic Periods. If the music
is diatonic common practice, then some follow-up questions might be, am I
familiar with the scale that is the resource of this music? What are the chords
and chord progressions I might anticipate finding in this piece? What about
phrase lengths and cadences common to this kind of music?</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Why are
these questions important? Because if we are not understanding what it is that
we are reading, then our reading is <i>rote reading</i>—essentially note by
note—but if we are understanding what we are reading, then we are <i>reading
with comprehension</i> and this comprehension facilitates both the reading and all
the further work on the piece. When we do a <i>thoughtful read,</i> we are not
only reading the notes, but we are also beginning to understand what the notes
are saying. It is like the difference between reading just letters and words as
opposed to learning the story that is being told. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><i><span style="font-size: 12.0pt; line-height: 115%;">Questions
must be specific.</span></i><span style="font-size: 12.0pt; line-height: 115%;"> For
a practice to be productive we need to know not only what to do, but why we are
doing it. Take the student who decides, or is asked, to play a piece that he
has been working on. He begins to play the piece, but the problem is that there
is no context to the playing. Without context, without knowing <i>why I am
doing something, without knowing what I am trying to accomplish, </i>there is
no purpose behind my action and without purpose there cannot be force. A dress
rehearsal, for example, should be approached differently than, say, working on
rhythm or tempo in a piece. In the case of the former, one would not stop in
the middle of the piece to work on a mistake, while in the case of the latter,
it would not be productive to just play through the piece without stopping to
work on specific areas of the piece. In other words, the why of one’s work orients
and shapes the work itself.</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">Another example
of asking the right question at the right time is the student who just cannot
seem to get a certain passage correct. She plays it over and over, sometimes slower,
and sometimes in tempo, yet it just does not get any better. Working hard is
not automatically working smart. <i>Practice, in the sense of repetition, does
not make perfect, it makes permanent.</i> What she needs to do is to stop
playing and ask herself if there might be a better way to execute the passage.
Are there other ways to finger the piece? Both the right and the left-hand
fingering should be considered. I often tell my students; good fingerings can
render a difficult passage playable and musical, but awkward fingerings can
render a relatively simple passage virtually unplayable. When your practice
begins to feel like one of those bad dreams in which you are running as fast as
you can but are going nowhere, you are being told that your practice is not
productive. An unproductive practice is an unhappy practice, which is to say that
the bubbles of happiness have gotten trapped in old and dysfunctional habits of
thought and patterns of work. The good news is that by asking the right
questions we can initiate a process that replaces these dysfunctional habits and
patterns with productive ones. </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;">(To be
continued.)</span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 115%;"> </span></p>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-80829662962298892042019-10-26T08:04:00.002-07:002021-01-09T07:28:13.581-08:00Productive Practice and the Pursuit of Happiness (Part 2.)<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">What happens
between lessons is every bit as important as what happens in the lesson itself.
A student can be very sincere, really want to learn and be better, have a good
teacher, practice regularly, and even a lot, but to accomplish one’s aims,
goals, and dreams efficiently, <i style="mso-bidi-font-style: normal;">productive
practice</i><span style="color: red;">*</span> is essential. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">Learning
curves will always have their ups and downs, but if practice is productive, the
general trend should always show an upward spiral of accomplishment over time and
not just <span style="mso-spacerun: yes;"> </span>a turning around and around in
the same circle. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">Unproductive
practice is always uncomfortable and feels not unlike those bad dreams of
running as hard as one can and yet not going anywhere. <i style="mso-bidi-font-style: normal;">Productive practice</i>, on the other hand, always feels lighter, and
clearer, and has its own unique kind of joy.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">There are no
rigid formulas or mechanical methods that will automatically produce <i style="mso-bidi-font-style: normal;">productive practice</i>; <i style="mso-bidi-font-style: normal;">productive practice</i> is a very personal
affair—it is a process that is written in the sand and not carved into stone,
yet, there are a few simple suggestions I can offer that may help to create
conditions favorable to a productive practice. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">Formulate an
agenda and a plan for each week. Be very specific. Don’t just say, “<i style="mso-bidi-font-style: normal;">I’ll do technique exercises for the first
ten minutes</i>;” instead, think about what technical issues you specifically
want to address and what studies or exercises you want to use to work on those
technical issues. </span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">I often
remind my students that mindlessly and mechanically repeating any technical
exercise or study will amount to nothing more than a total waste of their time!
But those same exercises or studies become invaluable when used as an
opportunity to address very specific technical and musical issues. Define your
objectives as simply and specifically as possible, for example, playing more on
the tip of the fourth finger of the left hand in scales and chords. Continuity
is very important in <i style="mso-bidi-font-style: normal;">productive practice—</i>students
sometimes start things with the best of intentions but don’t follow through. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">Control is
another important aspect of <i style="mso-bidi-font-style: normal;">productive
practice</i>; go slow enough so that you can control the placement of the
fourth finger <u>every time</u> you use it in the exercise or study you are
working with.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">In my book, <u>From
Silence to Sound</u>,<span style="color: red;"> **</span> the teacher, Alex Kubadi
says, “<i style="mso-bidi-font-style: normal;">Two should always be present in
your practice; your teacher and your student.</i>” The teacher is the mind and
the body is the student. The teacher works in the realm of concepts and ideas.
The student’s intelligence is in its ability to learn and <i style="mso-bidi-font-style: normal;">remember</i> and reproduce specific physical positions and movements in
time. An effective teacher is always very clear with regard to what it wants
the student to do and how it wants the student to do it. </span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">The job of
the teacher is to translate his ideas—his vision—into the language of the body
and then to create the right conditions to facilitate the <i style="mso-bidi-font-style: normal;">learning</i> of the student. The student—the body—learns by repeating
an action a number of times, but the teacher must always keep in mind that <i style="mso-bidi-font-style: normal;">practice, in the sense of repetition, does
not make perfect, it makes permanent; </i>and that <i style="mso-bidi-font-style: normal;">the number of repetitions needed for the student to learn a particular
action is in direct proportion to the teacher’s state of attention while
guiding the actions of the student.</i></span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">In the
relationship between the teacher and the student, the teacher functions in <i style="mso-bidi-font-style: normal;">the domain of the mind</i>—and in that
domain, the body is slow. For example, in my mind I can travel from my house to
my friend’s house at the speed of thought—much faster than the time it takes
for me to physically go to my friend’s house. </span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">But
conversely, in <i style="mso-bidi-font-style: normal;">the domain of the body</i>,
the mind is slow. Once the body <i style="mso-bidi-font-style: normal;">learns</i>
even a relatively simple action, the mind cannot keep up with it. Think about
even the act of walking and all its components of multiple and simultaneous
actions regarding the coordination of the feet and the legs and the arms and balance,
etc. </span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">Because of
the discrepancies between the relative speeds of the mind and the body in the
mental and the physical domains, it is essential that the mind establishes and
maintains control of the process of work and must never allow the tempo of the
work to get out of its control.<span style="mso-spacerun: yes;"> </span>Therefore,
if one feels that the work is going too fast for to control, that the body is
allowed to make the same or random mistakes over and over again, then it is
time to stop and think and ask questions that will lead to a better plan of
work. </span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">And this
leads to one of those little <i style="mso-bidi-font-style: normal;">secrets.</i>
Speed can be very impressive and its pursuit can become very compelling, but <i style="mso-bidi-font-style: normal;">speed is never achieved by trying to go fast</i>.
The capacity for <i style="mso-bidi-font-style: normal;">speed is acquired
through perfection and refinement of positions and movements and the</i> <i style="mso-bidi-font-style: normal;">degree</i> <i style="mso-bidi-font-style: normal;">to which these positions and movements are programed into the body’s
memory—what is generally called</i> <i style="mso-bidi-font-style: normal;">muscle
memory.</i> That is why refining and perfecting positions and movements at
slower tempos, tempos that the teacher can control, leads to the capacity for
speed. It could be said, to play fast later, practice slow now. </span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">One further
point on the subject; if you allow the body to learn three different ways of
the doing the same thing, one of which is preferred over the others, when
called upon to reproduce the action, there is only a one in three chance that
the body will reproduce the preferred way.</span></div>
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<br /></div>
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<span style="font-size: 12pt; line-height: 115%;">And finally,
always review your work weekly. Ask the pointed questions. Remember that being <i style="mso-bidi-font-style: normal;">critical</i> is not the same thing as being
negative. Negativity has no place in <i style="mso-bidi-font-style: normal;">Productive
Practice. </i>As the poet once said, “<i style="mso-bidi-font-style: normal;">Ours
is not a caravan of despair!”</i> Ask questions like; “What progress did I make
over the week? Did I meet my expectations? What could I have been better? What
could I have done differently, etc.? As with the initial plan, the answers
should be very specific and simple. Your review should lead to your next week’s
agenda and plan. There is a saying, “<i style="mso-bidi-font-style: normal;">A
good plan is a plan that works!</i>”</span></div>
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<br /></div>
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<span style="color: red; font-size: 10pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>*</span><span style="color: red; font-size: 8pt; line-height: 115%;">&</span><span style="color: red; font-size: 10pt; line-height: 115%;">**Because of the initial difficulty to objectively
observe and evaluate one’s work, the guidance of an experienced teacher can be
useful. <span style="mso-spacerun: yes;"> </span>For one on one lessons in <u>Productive
Practice, </u>or to purchase copies of the book, <u>From Silence to Sound,</u>
please contact Michael Kovitz at </span><a href="mailto:FromSilencetoSound142@gmail.com"><span style="font-size: 10pt; line-height: 115%;">FromSilencetoSound142@gmail.com</span></a><span style="font-size: 12pt; line-height: 115%;"></span></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-2604133529112734132018-12-30T08:37:00.000-08:002018-12-30T08:37:16.400-08:00The Art and Science of Performing<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">You’ve
worked out the music, overlooked no detail regarding the notes, the rhythms, the
fingerings, the history, and the analysis of the piece. You have worked hard to
‘get the music under your fingers.’ Now, is the opportunity for you to <i style="mso-bidi-font-style: normal;">share</i> your vision of the music with
yourself and others. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">But for
many, this <i style="mso-bidi-font-style: normal;">sharing</i> is an experience
fraught with anxiety, misconceptions, fear, unrealistic expectations, in short,
all manner of dysfunction. Would it help to label the experience <i style="mso-bidi-font-style: normal;">demonstrating one’s work?</i> <span style="mso-spacerun: yes;"> </span>Of, course, merely changing the label on the
jar doesn’t change what’s in the jar, but words do have power and thinking
about a problem in a different way may lead to new possibilities…<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">One cannot
demonstrate work that has not been done, but one should be able to demonstrate
work that has been done, though the ability to demonstrate that work does not
come automatically. One step in the process is the practice of demonstrating
one’s work, but here too, <i style="mso-bidi-font-style: normal;">practice does
not make perfect; practice makes permanent</i>. I often remind my students, in
order change the level of one’s work, one has to change the level of one’s
practice; to change the level of one’s practice, one has to change the level of
one’s thoughts; and to change the level of one’s thoughts, one has to change the
questions one is asking… </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Performers
often employ <i style="mso-bidi-font-style: normal;">meditation</i> and <i style="mso-bidi-font-style: normal;">relaxation techniques</i> like <i style="mso-bidi-font-style: normal;">deep breathing</i> and <i style="mso-bidi-font-style: normal;">body awareness </i>to help calm their nerves and improve their focus; some
use psychological <i style="mso-bidi-font-style: normal;">conditioning</i> to
shape a more <i style="mso-bidi-font-style: normal;">positive </i>mental
attitude, and no doubt, these methods can be and have been effective, but it has
been my experience that these techniques often miss something important—the
heart of the problem—a deeper question regarding the <i style="mso-bidi-font-style: normal;">science</i> of situation. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Solving this
problem begins with understanding the changing roles of the mind’s relationship
to the body. When one is working out a piece of music the relationship between
the mind and the body is akin to that of<i style="mso-bidi-font-style: normal;">
teacher</i> and <i style="mso-bidi-font-style: normal;">student</i>. The mind as
teacher decides that it wants to play a piece of music. It then needs to
understand all that needs to be known about how that music should sound. Then,
it needs to translate all of that information into specific <i style="mso-bidi-font-style: normal;">positions and movements</i> <i style="mso-bidi-font-style: normal;">in time</i> that the body can
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the mind—its concepts and ideas. <span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Positions
and movements are the language of the body—get the body to do something a few
times and it begins to remember. Once this is accomplished, the mind<i style="mso-bidi-font-style: normal;"> </i>must relinquish its <i style="mso-bidi-font-style: normal;">role as teacher</i> and take on the role of <i style="mso-bidi-font-style: normal;">conductor, </i>but therein lies the problem,
because the mind, having become <i style="mso-bidi-font-style: normal;">habituated
to</i> and <i style="mso-bidi-font-style: normal;">identified with</i> its role
as teacher, often finds it all but impossible to give up this role. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">During a
performance, a <i style="mso-bidi-font-style: normal;">world-class</i> conductor
of a <i style="mso-bidi-font-style: normal;">world-class </i>orchestra never
wonders<i style="mso-bidi-font-style: normal;"> if</i> or <i style="mso-bidi-font-style: normal;">whether </i>the orchestra can play the music; instead, the conductor’s
only concern is with communicating to the orchestra <i style="mso-bidi-font-style: normal;">in the moment</i> <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">what</i> it needs to do to in order to
express the conductor’s <i style="mso-bidi-font-style: normal;">vision</i> of the
music. It’s like the difference between learning how to drive a car and
actually driving it. A competent driver does not continue to consider <i style="mso-bidi-font-style: normal;">how</i> to turn or brake or accelerate, the
driver leaves that to the body while it concerns itself with the exigencies of
the journey at hand. But in performance, if the mind begins to consider
mistakes and mishaps, or starts to worry about <i style="mso-bidi-font-style: normal;">what comes next,</i> or <i style="mso-bidi-font-style: normal;">how to do
it, </i>it is reverting to its role as teacher… </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Of course
it’s easy to say, “don’t think about your mistakes while playing, don’t worry
or second guess yourself,” but this is easier said than done; because it is the
nature of the mind to go to whatever it is told not to— tell it to not think
about blue elephants and automatically, that is exactly what it will begin to
do. And so, the more successful solution would be to deflect the mind, to get
it to think about something else, like say, red elephants—because the more the
mind becomes <i style="mso-bidi-font-style: normal;">concentrated </i>on red
elephants, the less it will thinks about blue elephants. In this case, the red
elephant is the musician’s vision and expression of the music.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">So, the blue
elephant is the state of the mind as teacher and the red elephant represents
the state of the mind as conductor. Let’s examine what a conductor does. At
first glance it may appear that the conductor’s actions/movements are in <i style="mso-bidi-font-style: normal;">response</i> to the orchestra, but, though <i style="mso-bidi-font-style: normal;">simultaneous</i> <i style="mso-bidi-font-style: normal;">response</i> is an important aspect of his role, his <i style="mso-bidi-font-style: normal;">primary</i> <i style="mso-bidi-font-style: normal;">attention</i> is to his vision—his <i style="mso-bidi-font-style: normal;">musical
vision</i>—of the work he is conducting. In other words, the conductor must
relate his inner world—his musical vision—to his outer world—the orchestra—and
do it <i style="mso-bidi-font-style: normal;">in the moment</i>.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">This
relationship—this balance—of the conductor’s inner and the outer worlds is an
act of <i style="mso-bidi-font-style: normal;">attention </i>that can be
illustrated by a double arrow. One arrow of attention is pointed at the
orchestra from his musical vision, while simultaneously, the second arrow of
attention is pointed at the conductor’s musical vision from the orchestra, and
this relationship is exactly what the soloist must achieve in performance—a
relationship between his body as orchestra and his mind as conductor. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">But to
achieve this balance takes practice—the practice of sharing—and a fair amount
of self-study as well—the study of one’s attention. It is <i style="mso-bidi-font-style: normal;">work</i>, but it is work that I have personally found to be very
rewarding on many different levels. This I say, not as someone who has achieved
the goal—perhaps some final goal can never be perfectly achieved—but as someone
engaged in a musical and personal journey that becomes more and more
interesting and enlightening with every step.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It is a
journey that is different for everyone, but I would characterize it as a
journey of love—and sharing love is what love life and music is all about. I
have witnessed this love—this sharing—in the performances of the great maestro
of the guitar, Andre Segovia. There was something different that I observed
when we, the audience, left the concert hall at the end of his performances.
Unlike many other concerts, I noticed that we were all generally much quieter
and smiling a whole lot more. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Why? I
believe that it had something to do with Segovia’s discipline, both as a
musician and as a human being. I believe that his work was never about
dominating the music, but about serving it. He mastered the music by serving it
with love; it was <i style="mso-bidi-font-style: normal;">a mastery in servitude</i>,
and when something is mastered through service and not the violence of
domination, it is felt by all who are in the presence of it as something very
unique and very special.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">But,
regarding this love manifested as disciplined service, what more can be said?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">For when the subject turned to love, pen
broke and paper tore</i>.” </span><span style="font-size: 10.0pt; line-height: 115%;">– The great mystical poet, Rumi.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">So perhaps
it would be best leave it here, because, as Rumi also said, “<i style="mso-bidi-font-style: normal;">the tale of love, must be heard from love
itself</i>, <i style="mso-bidi-font-style: normal;">for like the mirror, it is
both mute and expressive!”</i></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 3.0in; text-indent: .5in;">
<span style="font-size: 9.0pt; line-height: 115%;">© Copyright, Michael Kovitz 2018 </span><span style="font-size: 12.0pt; line-height: 115%;"></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-47716719459226301022017-06-13T16:26:00.000-07:002017-06-13T16:26:01.338-07:00Structural Awareness in Music<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Seven levels
of <i style="mso-bidi-font-style: normal;">structural</i> <i style="mso-bidi-font-style: normal;">awareness</i> can be found within a complete piece of music. From the
smallest units to the largest they are: </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">(1) Individual
sounds, (2) Intervals, (3) Triads and Chords, (4) Motives, Figures, or <i style="mso-bidi-font-style: normal;">Music molecules</i>, (5) Sub-phrases and Phrases,
(6) Sections and (7) Movements. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">All seven
levels of structural awareness are most clearly identifiable in classical
symphonies, concertos, and suites. Simpler forms, like songs and individual
pieces, sometimes contain only five or six of these levels; while in the practices of composition of the Middle Ages, and the music of much of Renaissance
music, the concept of triads and chords did not exist—even though contemporary
musicians do <i style="mso-bidi-font-style: normal;">hear</i> and <i style="mso-bidi-font-style: normal;">see </i>these harmonies in the music of these
earlier periods. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Structure
and awareness go hand in hand— their connection can be understood in this way:
A piece of music is made up of many different sounds; when one is aware of
these different sounds, but not of the connections among them, then awareness
is only of the first level of structure—the single sound. This is often the
situation with beginners whose awareness is primarily involved with trying to
read and play individual notes, i.e. <i style="mso-bidi-font-style: normal;">“This
is a c note, that is an e note,” </i>etc. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The second
level of structural awareness is about the relationship among the sounds, i.e.
about intervals. Here one is aware, for example, that there is a relationship
between a c note and an e note and this relationship is designated and
understood as a <i style="mso-bidi-font-style: normal;">major third</i>. Add
another level of structural awareness, i.e., the awareness of the relationship
among three sounds, and we have the awareness of triads, and by extension,
chords. As it is with sounds, intervals, and triads, so it is also with
motives, phrases, sections, and movements.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">A word of explanation
is also warranted regarding my use of the term, <i style="mso-bidi-font-style: normal;">music molecule. </i>Within the domain of music, common corresponding terms
are <i style="mso-bidi-font-style: normal;">motive</i> and <i style="mso-bidi-font-style: normal;">figure.</i> They all mean about the same thing. In his book, <u>Fundamentals
of Musical Composition</u>, Arnold Schoenberg said; </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">The motive generally appears in a
characteristic and impressive manner at the beginning of a piece. The features
of a motive are intervals and rhythms, combined to produce a memorable shape or
contour which usually implies an inherent harmony. Inasmuch as almost every
figure within a piece reveals some relationship to it, the basic motive is
often considered the ‘germ’ of the idea.” </i></span><span style="font-size: 9.0pt; line-height: 115%;">– <u>Fundamentals of Musical Composition</u>, by Arnold
Schoenberg, page 8</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Personally,
I often use all of these terms somewhat interchangeably, but I particularly
like the term music molecule. In science, a molecule is the smallest amount of
a <i style="mso-bidi-font-style: normal;">substance </i>that still retains all of
the qualities and characteristics of that substance. Here, the word substance is
consistent with the material that makes up the whole of a given piece of music
and the term music molecule is the smallest structure within that whole that
identifies the unique quality of that whole piece of music. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Take, for
example, the great old song, “Autumn Leaves.” Merely hearing the first sound
will not identify the piece, nor will hearing the second sound, nor will
hearing the third. But the first four sounds, corresponding to the words, “<i style="mso-bidi-font-style: normal;">The falling leaves</i>,” will identify the
song to anyone who is familiar with it. Those first four sounds, their duration, and the harmony they imply create the first molecule of the song we
call Autumn Leaves that through the processes of repetition and variation exhibit
most all of elements of melody, rhythm, and implied harmony that are heard
throughout the song<i style="mso-bidi-font-style: normal;">.</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It has been
my experience that merely playing the correct notes in correct time does not
create a satisfying interpretation and expression of a piece of music, but that
the awareness of each of the seven levels of structure that make up the whole
of a piece of music leads to an understanding and subsequent interpretation and
expression of a piece of music that can be both competent and aesthetically
satisfying. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I believe
that aware of the music molecules<i style="mso-bidi-font-style: normal;">, </i>their
repetition and variation<i style="mso-bidi-font-style: normal;">, </i>and how
they combine to form sub-phrases and phrases, which, in turn, combine to form
sections and then movements, is the key to that elusive quality that is called
musicality.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Listen to
the first four notes, the first music molecule<i style="mso-bidi-font-style: normal;">,</i> of <i style="mso-bidi-font-style: normal;">Autumn Leaves. </i>This
music molecule consisting of the words, “<i style="mso-bidi-font-style: normal;">The
falling leaves</i>,” is followed by five notes corresponding to the words, “</span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">drift
by the window.” </span></i><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Notice
that those five notes have the same intervallic relationship as the first four
notes corresponding to the words, </span><span style="font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">The falling leaves</i>.”
What makes them sound different is that the second five notes begins a whole
step lower than the first four and the whole note that ends the first molecule
is divided into two half notes in the second in order to accommodate the two
syllable word, </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">window.</span></i><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Some might ask if the
second molecule is a repetition or a variation of the first molecule.
Personally I favor repetition, though I would not argue too strongly if someone
preferred variation. What I think is more important, however, is that the two
molecules are in an <i style="mso-bidi-font-style: normal;">antecedent/consequent</i>
<i style="mso-bidi-font-style: normal;">relationship</i>, in other words, the
second molecule is a response and completion of the first molecule. The antecedent/consequent
relationship is so prevalent in all music that it is nearly impossible to
conceive of music that does not exhibit it. It is found to connect molecules, phrases,
sections, and even movements.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">In <i style="mso-bidi-font-style: normal;">Autumn Leaves, </i>the first two molecules,
corresponding to the words, <i style="mso-bidi-font-style: normal;">the falling
leaves </i>and the words<i style="mso-bidi-font-style: normal;"> drift by the
window, </i>make up the first sub-phrase which is then followed by the second
sub-phrase containing the words, t<i style="mso-bidi-font-style: normal;">he
autumn leaves of red and gold. </i>Notice that these two sub-phrases are also
in an antecedent/consequent relationship, and that the first molecule of the
second sub-phrase is a repetition of the very first molecule of the song,
beginning on a note that is one-half step lower than the second molecule.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The next line, <i style="mso-bidi-font-style: normal;">the autumn leaves</i>, repeats the first
molecule a whole step below the notes corresponding to the words, <i style="mso-bidi-font-style: normal;">drift by the window</i> and are then
followed by a variation of the molecule corresponding to the words, </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">of red and gold. </span></i><span style="font-size: 12.0pt; line-height: 115%;">That completes the first sentence of text and the first eight measure
phrase consisting of two four measure phrases in an </span><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">antecedent/consequent relationship. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Here, a phrase is
taken to mean a <i style="mso-bidi-font-style: normal;">musical sentence. </i>A
grammatical sentence needs a <i style="mso-bidi-font-style: normal;">subject,
verb, and object, </i>for example, the sentence, “I went home.” Notice the
similarity, but also the difference, between a phrase and a music molecule. A
phrase is a complete thought, like a sentence, but a music molecule, though
being the smallest unit </span><span style="font-size: 12.0pt; line-height: 115%;">that
identifies the unique quality of that whole piece of music, is not, in itself,
enough to make a musical sentence—a phrase. </span><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">The next phrase of
the song, “<i style="mso-bidi-font-style: normal;">Autumn Leaves</i>,” <span style="mso-spacerun: yes;"> </span>corresponding to the words<i style="mso-bidi-font-style: normal;">, </i></span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">I see your lips, the summer kisses, the
sun-burned hands, I used to hold, </span></i><span style="font-size: 12.0pt; line-height: 115%;">is an exact repetition of the first phrase, but with a variation
of the final (<i style="mso-bidi-font-style: normal;">cadential</i>) measure.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Which leads
us to the second section—the <i style="mso-bidi-font-style: normal;">bridge</i>—beginning
with the words, <i style="mso-bidi-font-style: normal;">since you went away... </i>This
is a new molecule, and though it retains the three note step-wise movement
found throughout the molecules of the first verse, the second part of this new
molecule introduces a melodic skip from a <i style="mso-bidi-font-style: normal;">chord
tone</i> to a <i style="mso-bidi-font-style: normal;">non-harmonic tone</i> and
then returns to the same <i style="mso-bidi-font-style: normal;">chord tone. </i>The
name of this particular type of non-harmonic tone is called a <i style="mso-bidi-font-style: normal;">free tone.</i> It resembles and <i style="mso-bidi-font-style: normal;">auxiliary tone</i> in that it is between two
chord tones that are the same pitch, but differs from the <i style="mso-bidi-font-style: normal;">auxiliary tone </i>in that its distance from the chord tone is more
than a step.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The next
three music molecules, variations of the first, and<span style="mso-spacerun: yes;"> </span>corresponding to the three groupings of
words, <i style="mso-bidi-font-style: normal;">since you went away,</i> <i style="mso-bidi-font-style: normal;">the days grow long,</i> and <i style="mso-bidi-font-style: normal;">and so I’ll hear, </i>exhibit this same <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">free
tone</i> shape found in the first molecule of the bridge. The phrase ends with
the words, <i style="mso-bidi-font-style: normal;">old winter’s song, </i>and the
cadential <i style="mso-bidi-font-style: normal;">consequent</i> of the third
molecule.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The next
phrase of the bridge is the <i style="mso-bidi-font-style: normal;">consequent </i>of
the first phrase of the bridge. It corresponds to the words<i style="mso-bidi-font-style: normal;">; but I miss you most of all, my darling, when autumn leaves start to
fall, </i>and exhibit the greatest contrast, in the melodic, rhythmic, and
harmonic materials that compose its music molecules.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Of great
importance to the discussion of music molecules is the observation that the
majority of all music molecules do not begin on the first beat of a measure not
do they end on the last beat of a measure. Music molecules can be seen to exist
over and between <i style="mso-bidi-font-style: normal;">bar-lines</i> while the
harmonies often tend to change at the bar-lines<i style="mso-bidi-font-style: normal;">. </i>Failure to appreciate this distinction creates numerous problems.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">For example,
notice that in “Autumn Leaves,” the first music molecule that begins the song
starts on the </span><i style="mso-bidi-font-style: normal;">&</i><span style="font-size: 12.0pt; line-height: 115%;"> of beat one of the first measure and
ends on the first beat of the third measure. The second music molecule then
begins on beat two of that measure and ends on beat one of measure five. But
the chords, the harmonies that accompany this melody consistently change on the
first beat of each measure. Hence, the music molecules begin after the chord
changes, not on the chord changes. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Amateur ensembles often have trouble with
the <i style="mso-bidi-font-style: normal;">timing</i> of this song, trying to
start the music molecules on the chord changes rather than after them. It would
be like trying to fit a square peg into a round hole by filing down the edges
of the square peg. Yet, the tension that exists between harmonies and melodies
is one of the most important factors that contribute to a good piece of music.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Another
common mistake made by amateur musicians and ensembles is the failure to
appreciate the importance of the <i style="mso-bidi-font-style: normal;">caesura</i>—the
<i style="mso-bidi-font-style: normal;">moment</i> between music molecules,
phrases, sections, and movements of a piece of music. What is a <i style="mso-bidi-font-style: normal;">moment</i> and what is <i style="mso-bidi-font-style: normal;">time</i>? They are both states of awareness—interconnected and yet,
independent of each other. We commonly think of time in terms of past, present,
and future, but, a moment just <i style="mso-bidi-font-style: normal;">is</i> and
has no specific measurement in time and has no past or future. A moment only
exists in the eternal present.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In music, we
establish time by designating <i style="mso-bidi-font-style: normal;">tempos</i>
and measure time in units of <i style="mso-bidi-font-style: normal;">beats</i>
and <i style="mso-bidi-font-style: normal;">measures. </i>But because the caesura
exists outside of time, as a moment, it cannot be found in the beats and
measures that measure the music. But it can be felt, and when the caesura is
expressed by a great musician, it is always found to make the music <i style="mso-bidi-font-style: normal;">feel</i> right.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Segovia once
told a student, “<i style="mso-bidi-font-style: normal;">Both the good musician
and the bad musician disrespects the music (notation), the difference is in how
they disrespect it</i>.”<span style="mso-spacerun: yes;"> </span>The caesura disrespects
the literal notation of tempo, beat, and measure, but when handled correctly,
the caesura respects the music that is being indicated by the notation—the
music that is the very reason for the notation.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">As a
musician my aim is to play music in such a way as to share the depth of joy
that I feel while I’m playing it, and as a teacher, to help my students do the
same. It is my conviction that <i style="mso-bidi-font-style: normal;">knowledge</i>
plays a role in this process, but that knowledge<i style="mso-bidi-font-style: normal;"> </i>has to be distilled and integrated into an almost instinctive <i style="mso-bidi-font-style: normal;">feeling</i> that goes beyond words and
ideas. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I believe
that <i style="mso-bidi-font-style: normal;">listening </i>is one of the keys to
this distillation—listening more and more, and studying more and more, the
works of great composers and great musicians.<span style="mso-spacerun: yes;">
</span>Also, we should not forget the importance of listening more and more,
and understanding more and more, one’s own music, for, in fact, we can really
only play what we hear, and what we hear is not just defined by the physical
organ ear, but is the result of the <i style="mso-bidi-font-style: normal;">cultivated
impressions</i> of the mind that responds to and interprets the auditory
sensations relayed through it through the ear, to the mind, and ultimately on
to the Infinite soul that the body and the mind serve. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Music is a
beautiful thing, the deeper one goes into it, the more beautiful it becomes,
and the more amazing is the experience—amazing and fulfilling—and as in all
things, the key is love<i style="mso-bidi-font-style: normal;">.</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">My teacher was telling the story, but he was
the story itself. It was about Mr. Kubadi and Johann Sebastian Bach, the lover
and the beloved, and God’s original question—‘Who am I?’ And it was about me
too—and it was about love</i>.”<span style="font-size: xx-small;"> </span></span><span style="font-size: xx-small;"><span style="line-height: 115%;">– <u>From Silence to Sound – Richard Kyle’s Journey to Musical Competency</u>,<u>
</u>by Michael Kovitz, page 73<i> </i>(Available
through the author at mekovitz@gmail.com).</span></span></div>
<span style="font-size: xx-small;">
</span><div class="MsoNormal">
<span style="font-size: xx-small;"><span style="line-height: 115%;"><span> </span><span> </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 9;"> <span style="font-size: xx-small;"> </span></span></span><span style="font-size: xx-small;"><span style="line-height: 115%;">© Copyright, Michael Kovitz, 2017 </span><span style="line-height: 115%;"></span></span></div>
<span style="font-size: xx-small;">
</span><div class="MsoNormal">
<span style="font-size: xx-small;"><span style="line-height: 115%;"><span> </span></span></span><span style="font-size: 12.0pt; line-height: 115%;"></span></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-51435179575015540162016-11-19T17:58:00.001-08:002016-11-19T17:59:13.519-08:00A Review of Gurdjieff, de Hartmann, music for the piano, Volume III, by Charles Ketcham and Lawrence Rosenthal<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; line-height: 115%;">It is
interesting to compare this CD, done digitally, with the original analog
recordings of Thomas de Hartmann circa 1950. <span style="mso-spacerun: yes;"> </span>Technically, the recordings of Charles Ketcham
and Lawrence Rosenthal are far better than the de Hartman which was done on
amateur equipment. The instrument itself is better, the micing and mixing is
better, and the recording equipment is all better than what was available to de
Hartman.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">With regard
to the playing there are also many differences—not necessarily better or worse,
just different. <span style="mso-spacerun: yes;"> </span>Ultimately, it may be up
to the listener to decide if he or she prefers one over the other—personally I
like them both, but if I had to choose, I would choose to listen to the de
Hartmann. <span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Charles
Ketcham and Laurence Rosenthal are modern world-class pianists with wonderful touch,
and tasteful use of dynamic change, nuance, and use all of the elements of
musical language like acceleration, ritard, ritinuto, legado, staccato, etc.
They bring a kind of clarity of line and structure to the music. And, listening
to them, I feel their connection to the sacredness of this music.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">So why do I
still prefer the de Hartmann? There is just something, for me, in hearing the squeak
in de Hartmann’s chair, the very occasional miss-played note, the slightly out
of tune piano that brings me back to a moment that has passed, a moment, yes,
to move on from, and a <span style="mso-spacerun: yes;"> </span>moment to be both
enshrined and built upon…</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There
is a story attributed to the Sufi Mullah Nasruddin. </span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">“A man knocks on the Mullah’s door
introducing himself as a friend who has brought a chicken for the Mullah’s wife
to cook into a soup. The Mullah invites him in, the wife cooks the soup, and
the Mullah and the guest eat it.</span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">“The next day there is another knock
on the door. ‘ Who is it?” asks the Mullah. ‘I am the friend of the friend who
brought the chicken—can I have some soup?’ The Mullah invites the man in and
goes into the kitchen. There is a little soup left, but not enough, so the Mullah
adds some water and serves the soup. The next day another man comes, ‘I am the
friend of the friend who brought the chicken—can I have some soup?’ </span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">“Again the Mullah goes to the
kitchen, adds more water, and serves it to the guest. This goes on for seven
days, seven friends, seven watered down soups. Finally the last guest says, ‘This
does not taste like chicken soup, it tastes like water!’ </span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">“The Mullah responds, ‘That is
because it is the soup of the chicken, of the chicken, of the chicken, of the
chicken, of the chicken, of the chicken, of the chicken, that your friend, of
the friend, of the friend, of the friend, of the friend, of the friend, of the friend,
brought to me!’”</span></i></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;"> </span></i><span style="font-size: xx-small;"><span style="line-height: 115%;">(c) copyright Michael Kovitz , 2016 </span></span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><br /></span></i></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-31752080550676552972016-09-03T07:44:00.000-07:002016-09-03T07:44:08.121-07:00The Alchemy of Transfiguration in Music<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">A <span style="mso-bidi-font-style: italic;">blueprint</span>
is a guide for making something — it's a design or pattern that can be followed</i></span><span style="font-size: 9.0pt; line-height: 115%;">.</span><span style="font-size: 12.0pt; line-height: 115%;">” </span><span style="font-size: 9.0pt; line-height: 115%;">—Vocabulary.com
</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">After
listening to John Fahey’s vintage album, <i style="mso-bidi-font-style: normal;">The
Transfiguration of Blind Joe Death,</i> I began thinking about transfiguration.
My first step was to look up the word. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Transfiguration</i> is type of <i style="mso-bidi-font-style: normal;">transformation.</i> </span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Transformation </span></i><span style="font-size: 12.0pt; line-height: 115%;">has many nuances of meaning. It could
be something as mundane as simple <i style="mso-bidi-font-style: normal;">change </i>or
something as profound as <i style="mso-bidi-font-style: normal;">metamorphosis</i>,
or something even more than that— like <i style="mso-bidi-font-style: normal;">transfiguration.
<span style="mso-spacerun: yes;"> </span>Change</i> implies <i style="mso-bidi-font-style: normal;">making different</i> and <i style="mso-bidi-font-style: normal;">different
</i>does not, in and of itself, imply either better or worse, while <i style="mso-bidi-font-style: normal;">metamorphosis</i> implies a change to
another level, a higher level of consciousness or structure, like when a
caterpillar becomes a butterfly. </span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Transfiguration </span></i><span style="font-size: 12.0pt; line-height: 115%;">is something even beyond <i style="mso-bidi-font-style: normal;">metamorphosis</i>; like <i style="mso-bidi-font-style: normal;">metamorphosis</i> it is a change to another level of consciousness or
structure, but additionally, that new level seems to imply aspects or qualities
associated with divinity, perfection, ultimate reality, infinite beauty,
infinite, bliss, and infinite consciousness—in other words, the highest
strivings of creation. In music, <i style="mso-bidi-font-style: normal;">transfiguration
</i>is when a musician raises his or her expression of the music to a level
that inspires the mind and heart of the listener to contemplate the infinite
and the eternal.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">For there to
be <i style="mso-bidi-font-style: normal;">transfiguration,</i> a kind of alchemy
is required between the composer and his music, the musician who plays that
music, and the occasion, or performance, of that music. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Andre
Segovia was once asked by Studs Terkel about this alchemy and Segovia answered
him by saying, “<i style="mso-bidi-font-style: normal;">Lazarus was dead and in
his grave and Jesus walked up to him and said, ‘Lazarus arise!’ and Lazarus
arose and was alive. At that moment, Lazarus belonged as much to Jesus as he
did to his own mother and father</i>.” </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The
Scriptural context that Segovia was paraphrasing is found in <u>Acts 20:7-12</u>
“<i style="mso-bidi-font-style: normal;">And when he thus had spoken, he cried
with a loud voice, Lazarus, come forth. And he that was dead came forth, bound
hand and foot with grave clothes: and his face was bound about with a napkin.
Jesus said to them, ‘Loose him, and let him go.’”</i></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">So, the musician
brings the music to life by playing it and, in that moment that piece of music
belongs as much to the musician as it does to the composer. That is what
Segovia was saying. But what I wonder is if all the music I hear is truly
alive? Can the singular act of translating a blueprint into sound be enough to
bring a piece of music to life? After all, the notation of a piece of music is
only a blueprint that enables the thoughtful musician to arrive at an
expression of the music that is acceptable to the composer, the musician, and
the audience. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">On another
occasion Segovia told a young woman that she was disrespecting the music. She gasped
and then fell silent. Segovia said that he would try to explain and went on to
say that both the good musician and the bad musician disrespect the music. He
said that difference was in how they disrespect it.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">My understanding
of his statement was that when Segovia said “<i style="mso-bidi-font-style: normal;">the music</i>,” he meant the notation of the music—the blueprint. I
think he was saying that the lesser musician does not extrapolate all of the
information from the blueprint and makes mistakes with it and therefore, what
comes out, <i style="mso-bidi-font-style: normal;">does</i> not respect the music
and the composer’s wishes. A good musician, on the other hand, goes beyond the
limitations of the literal blueprint, understands beyond the explicit
information of the literal blueprint, and creates an expression of the music
that disrespects the literal blueprint by transforming it into something more.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">As a musician
and as a listener I begin to lose interest if a musician is merely translating
a musical blueprint, even if the expression is superficially different than
other expressions I have heard. I get more interested if the expression of a
piece of music reveals something new to me about the music, something that I
was not formerly aware of—something about its harmonies, or melodies, or
rhythms, or structure. I am interested, yes, but still wishing, still yearning,
for something more—something that can take me to a higher level of
consciousness, a higher experience that touches the highest expectations of
what art is and can be and inspires the deepest of longings for a real
fulfillment of myself and the meaning of my world. <span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">When music
realizes its potential to take us into places that cannot be described in
words, places where one sees a glimpse, or hears a whisper, or senses an
awareness of that which is real, that which is infinite, and eternal, then that
music is not merely inspired, it is transfigured and it is the nature of that
which is transfigured to transfigure all and everything that it touches. </span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 1.5in; text-indent: .5in;">
<span style="font-size: 9.0pt; line-height: 115%;">© copyright, 2016, Michael Kovitz</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-spacerun: yes;"> </span><span style="font-size: 12.0pt; line-height: 115%;"></span></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com2tag:blogger.com,1999:blog-8290144454766614674.post-48532813778980353292016-05-07T07:52:00.001-07:002019-09-03T07:29:22.789-07:00Improvisation in Music - What is it?<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I’m a
questioner, always have been, probably always will be, but I’m not really looking
for answers. I’m also not just trying to be contrary, but there are times when
answers do not have that so-called <i style="mso-bidi-font-style: normal;">ring
of truth </i>for me—do not leave me satisfied. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">And so, I
sometimes end up stopping others in the course of their explanations to
question one or another of the assumptions upon which their explanations are
constructed. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">A good
example is the numerous assumptions about what constitutes improvisation in
music. The general thinking is that most classical music is not improvised and
that most jazz and blues is.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Fair enough,
until we dig a little deeper. Yes, classical music is written down and
classical players play what is written. Jazz, on the other hand, is often based
upon a form—a harmonic or melodic progression, or a tune—upon which the player
is free to, so to speak, <i style="mso-bidi-font-style: normal;">change it up</i>
and find places within the forms to create their own mini-creations—like solos.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Again, all
well and good, but only until we begin to ask some of <span style="mso-spacerun: yes;"> </span>those inconvenient questions like—is a
classical musician just some kind of machine, like a CD player, that reads the
information on the disk—in this case the musical notation or the music played
from memorization—and then, via the body, convey that information into sound? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Studies have
shown that different areas of the brain are activated when musicians are asked
to play a scale or a melody from memory and then asked to improvise on that
scale or melody. Specifically, an area of the brain involved with the process
of <i style="mso-bidi-font-style: normal;">self-monitoring</i> is deactivated
during improvisation. But my own experience of playing memorized music and
improvising shows me that the situation is not quite so simple—not quite so
black and white. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>What I observe is that when I play a piece of
music, whether I am improvising or playing from memory, the music never comes
out the same way twice. When I’m playing well and I'm in control of the piece, it
comes out differently depending on my mood, the acoustics of the room, the
instrument I am playing, and also what music and musicians I have been
listening to recently.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">So the
question is this, if I really <i style="mso-bidi-font-style: normal;">know</i> the
music and am not thinking about <i style="mso-bidi-font-style: normal;">how</i>
to play it, but <i style="mso-bidi-font-style: normal;">what</i> I want to hear,
and in the <i style="mso-bidi-font-style: normal;">here and now </i>of the moment
I am intentionally <i style="mso-bidi-font-style: normal;">projecting</i> my
vision, am I not improvising?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>But perhaps the answer depends on one’s
definition of improvisation. If you think improvisation is only that which
creates new melodies, chords, and chord progressions—new notes and different
rhythm—then what I am describing is not improvisation. Again, all well and
good, but personally, I am not satisfied.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Why not?
Because I begin to question what is this <i style="mso-bidi-font-style: normal;">new
stuff</i> that the improviser is improvising? Where does it come from? How did
it get there?<span style="mso-spacerun: yes;"> </span>And is the improviser
channeling something beyond himself—something from the Universal Mind, or God
or the cosmos?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Most jazz
musicians will tell you that what comes out in an improvisation is what is
already inside of them—is <i style="mso-bidi-font-style: normal;">stuff </i>that
they have in their minds and have already programed into their bodies—the so-called
muscle memory. How it comes out, when it comes out, and why it comes out is sometimes
a mystery, but there does always appear to be some cause and effect at work in
the process. Elements that I described that impact my expression of classical
music seem remarkably like the elements that influence the improvisation of a
jazz or blues musician—elements like the musician's mood, the room, the energy
of the room, etc. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In other
words, it is my experience that when classical musicians play a piece of music that
they have fully internalized and when jazz musicians improvise, there is not as
much difference as is sometimes assumed. Of course, the deeper question for me still
remains—how does either of them do it in the first place? Where is the line
between musician and machine, or is the inconvenient truth that there is really
no distinction all? Without the <i style="mso-bidi-font-style: normal;">machine</i>
of the body and the impressions stored in the mind, neither the classical
musician nor the jazz musician could play their music.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">And so, I
wonder, is the musician—is man—really a kind of sophisticated <i style="mso-bidi-font-style: normal;">cyborg—</i>not just in music, but on the whole
vast field of life itself, running and being run by their impressions—their physical
and mental programing? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">My coffee
cup sits near me next to my computer; I reach for the cup and take a sip. What
just happened? Mind, monitoring my senses, becomes aware of the cup and
desiring the experience of the coffee commands the body to do my mind’s will.
The body is programed for the task of picking something up and moving it, in
this case, to my lips to taste—to experience—the coffee.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">But <i style="mso-bidi-font-style: normal;">where am</i> <i style="mso-bidi-font-style: normal;">I</i> in all of this? <i style="mso-bidi-font-style: normal;">Who am</i> <i style="mso-bidi-font-style: normal;">I </i>in all of this? And am <i style="mso-bidi-font-style: normal;">I</i> ever even here at all? One thing I
know for sure, it is in the act of playing music that these questions are
raised to a level beyond the theoretical and the abstract and in their
contemplation I experience a unique joy and happiness—and can I ever ask for
more?</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 8;"> </span></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-tab-count: 8;"> </span></span><span style="font-size: 9.0pt; line-height: 115%;">© copyright Michael Kovitz 2016</span></div>
<div class="MsoNormal">
<br /></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com1tag:blogger.com,1999:blog-8290144454766614674.post-68259952450945125492016-01-01T10:11:00.000-08:002016-01-07T10:12:12.252-08:00"What the world does not need is another guitar player."<!--[if gte mso 9]><xml>
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<![endif]-->I am helping one of my guitar students prepare for her college auditions.<br />
I was struck by the wording of two of the requirements, <br />
“<i>two pieces, one of which is technical and the other melodic</i>.”<br />
<br />
The meaning is not unclear; they require one piece that demonstrates<br />
the performer’s technical proficiency and another piece that demonstrates<br />
feeling and expressiveness.<br />
<br />
But if one looks a little more closely at these requirements, the distinctions between technical and musical<br />
are not as obvious as they first seem and even seem to promote, perhaps at a subliminal level, a duality in music that is most unmusical. <br />
<br />
Technique is, or always should be, the servant of the music. <br />
Technique is the wings that allow musical vision to soar into the angelic realms <br />
of the miraculous. <br />
<br />
Though he was not speaking directly about music, I think this statement by<br />
<br />
Meher Baba hits the nail right on the head:<br />
<br />
“<i>Mind and heart must work together. <br />Mind without heart is like a river bed without water—lifeless and dry.<br />Heart without mind is like a river without banks—the water having nowhere<br />to flow, becomes a swamp. Mind and heart working together is a beautifully flowing river, <br />lovely to behold.</i>” <br />
<br />
Paraphrased, the statement becomes:<br />
<br />
<i>Music without heart is like a river bed without water—lifeless and dry. <br />Music without mind is like a river without banks—the music having nowhere to flow, <br />becomes like a swamp. Music that has heart and mind working together is a beautifully<br />flowing river, lovely to hear.</i><br />
<br />
Andres Segovia once said, “<i>There are no technical problems—only musical problems</i>.” <br />
<br />
What this means to me is that a musician can only teach her hands to do what her mind conceives of—no more, no less. This is not to say that different bodies don’t have different capacities, but whatever the strengths and weaknesses of the body, somehow a good musician finds a way. Take for example the legendary jazz guitarist Django Reinhardt who made incredible guitar music with only two functional fingers on his left hand, or George Allen whose fingers were so thick that he was unable to fret a string without holding down another. <br />
<br />
In other words, if the mind accepts a buzz or a wrong note, the body will create wrong notes and buzzes and this will establish a technique predisposed to wrong notes and buzzes. On the other hand, if a musician does not accept wrong notes and buzzes, she will create a physical technique that tends to keep them from creeping into her playing. As my old teacher Jack Cecchini used to tell me, “<i>A good musician gets it right, even if he needs to play it with his nose.</i>” <br />
<br />
So, what was my student or I to make of this requirement? Did a ‘technical’ piece mean that it needed to be fast, or complicated, or really stretchy? And did a melodic piece mean a piece with a tune-like melody—like a song? Really, I could name many pieces that are slow and do not sound ‘difficult’ yet demand great control—a balance of head and heart—like Beethoven’s <i>Moonlight Sonata</i> or Leo Brower’s <i>Un Dia De Noviembre</i>. And also, are there not many pieces that sound really ‘difficult’ that are in fact relatively easy to learn and to play? <br />
<br />
In conclusion, I think that the requirements and pedagogy of many music schools and many teachers are promoting and sending the wrong message. With regard to the very wording of my student’s requirements they seem to be fostering a separation of the head and the heart rather than a harmonious union of the two. Again to quote Meher Baba, “<i>There should be a balance between the head and the heart, but should one err, it should be on the side of the heart.”</i> <br />
<br />
Or finally, as Andres Segovia once said, “<i>What the world does not need is another guitar player; what the world does need are musicians and artists who also play the guitar</i>.” <br />
<br />Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-12406847365351180322015-06-14T15:34:00.000-07:002015-06-14T15:34:52.403-07:00Structure and Function in Bookshelves and the Music of Phil Spector<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">What do
bookshelves and Phil Spector’s music have in common? The answer is structure,
but you can’t talk about structure for very long without talking about
function.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">For example,
you decide to build some bookshelves because you need a way to store your books
and yet keep them accessible. <span style="mso-spacerun: yes;"> </span>Storing
books and accessibility is about <i style="mso-bidi-font-style: normal;">function</i>;
how that is accomplished is about <i style="mso-bidi-font-style: normal;">structure</i>.
But first, some questions need to be asked and answered: </span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 12.0pt; line-height: 115%;"> 1. How many books are we talking about?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 12.0pt; line-height: 115%;"> 2. What are the sizes of the books?</span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3 3. <span style="font: 7.0pt "Times New Roman";"></span></span></span><span style="font-size: 12.0pt; line-height: 115%;">Where will the bookshelves go?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">We need to
make sure that we build shelves that are roomy enough to accommodate the books and
that the space between the shelves is sufficient to accommodate our larger
books.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Will the
bookshelves have to fit under a window? Then the shelves need to be long and
not very tall. If, on the other hand, the space is limited but the ceiling is
high, then the bookshelves can be tall and narrow.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Now we need
to consider some other things with regard to <i style="mso-bidi-font-style: normal;">ability</i>:</span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 12.0pt; line-height: 115%;">How much are we willing, and able, to
spend on materials and necessary tools?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 12.0pt; line-height: 115%;">How much time are we willing to
commit to the project?</span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo2; text-indent: -.25in;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-size: 12.0pt; line-height: 115%;">And, realistically, is our skill
level and knowledge up to the realities of the project we envision?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Makes sense,
but how does this all apply to music? With music as with carpentry, no one just
begins to build <i style="mso-bidi-font-style: normal;">something</i> without
reason and motivation and without some idea of what that <i style="mso-bidi-font-style: normal;">something</i> is going to be. Creativity is not the exercise of the
infinite freedom of possibilities; creativity is the <i style="mso-bidi-font-style: normal;">process of the limitation of possibilities.</i> One needs to start with
an idea, and, no doubt, the idea can develop and change as the project
progresses, but one does need to start somewhere—with some idea.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Do I
envision a song, a motet, a sonata, or a symphony? Do I have the tools and skills
to succeed at the project? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Before the
beginning there was nothing and that nothing held infinite possibilities. After
something emerged, the very nature of <i style="mso-bidi-font-style: normal;">something</i>
eliminated the state of <i style="mso-bidi-font-style: normal;">anything.</i> The
first <i style="mso-bidi-font-style: normal;">something</i> became the <i style="mso-bidi-font-style: normal;">cause</i> and what followed was the <i style="mso-bidi-font-style: normal;">effect, </i>and that<i style="mso-bidi-font-style: normal;"> effect, </i>became a further<i style="mso-bidi-font-style: normal;">
cause.</i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I was ten
years old when I first went to summer camp in Hayward, Wisconsin. I think I
went to that camp for three or four consecutive summers. It was called, <i style="mso-bidi-font-style: normal;">Camp Big Chief, </i>if anyone is
interested.<span style="mso-spacerun: yes;"> </span>Hayward Wisconsin was about
500 miles from Chicago—where I lived. We travelled by train in Pullman cars—you
know, the ones where the seats convert into bunk-beds at night. Our train was
always a milk train that stopped at every stop along the way. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I liked the
lower bunks because they had windows, and I liked to look out the windows at
night while I listened on my little transistor radio to whatever rock and roll
station I could find. We’re talking somewhere between the mid and the late
fifties here. <i style="mso-bidi-font-style: normal;">“Sh-boom, sh-boom, life
could be a dream sweetheart.” </i><span style="mso-spacerun: yes;"> </span>And
life definitely was a dream for this little kid—come to think of it, it still
is…</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It was an
interesting time for pop music—a time of change. Influences were changing from
white to black—or maybe white to blues—and then a new white emerged—maybe
something more grey—and then a new black—and then there was Elvis who absorbed
and reflected all the influences from pop and blues to gospel and <span style="mso-spacerun: yes;"> </span>jazz and what eventually emerged was called
Rock and Roll—and I loved it!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">It spoke to
me; it was my life; and I still listen to it, still love it, still respect it,
and I still learn from it. In fact now, I feel that I am only beginning to really
understand and appreciate the music of the 1950’s and 1960’s.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">And Phil
Spector; was he a musical genius or what? Consider his famous <i style="mso-bidi-font-style: normal;">Wall of Sound</i>. <span style="mso-spacerun: yes;"> </span>I know we’ve jumped into the early sixties,
but the sixties were the natural emotional and spiritual evolution of the <i style="mso-bidi-font-style: normal;">new </i>music of the late fifties. Everything
is connected, nothing just comes and goes by itself—could there have been an
Elvis without first an Ellington? Did Miles, or Monk, or Coltrane, just emerge
from thin air?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Anyway, Phil
Spector was a master of structure and function. When he worked with a song he
knew what he wanted, and he was very particular—very demanding—in the recording
studio. The <i style="mso-bidi-font-style: normal;">Wall of Sound</i> was
something more than just filling all the space on the <i style="mso-bidi-font-style: normal;">sound stage </i>with sound. Sound without structure would just be
noise. Putting shelves just anywhere in any way in our bookshelves would
satisfy neither the demands of function or structure. And remember, that every
sound takes time, and so sound is not just about pitch it is also about rhythm.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Sound has to
respect and support the underlying structure of the music. Take for example,
and we really could take any one of dozens of Phil Spector productions as an
example, the 1963 mega-hit, <i style="mso-bidi-font-style: normal;">Then He Kissed
Me</i>…</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">He asks her
to dance, he walks her home under shining stars, they kiss, eventually fall in
love, and one day he proposes marriage. <i style="mso-bidi-font-style: normal;">“I
felt so happy that I almost cried, and then he kissed me.”</i> – sung
wonderfully by the Crystals. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Not a
complicated song; 4/4 time, key of E Major, pretty much a lot of I-V-I-IV, etc.,
but the arrangement is very intelligent and fully respects and highlights the
structure of the song. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The song
begins with an instrumental guitar lick—<i style="mso-bidi-font-style: normal;">dum
da de dum, dum da de dum</i>, etc. —between the I and IV chords.<span style="mso-spacerun: yes;"> </span>That same lick, joined by an organ, and later
strings, colors the empty white space of the sound stage with a kind of gray
under-painting.<span style="mso-spacerun: yes;"> </span>It stays with us to the
end of the song, also filling the space between the vocal phrases. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">That little
lick catches your attention, no doubt, but really what grabs you are the
drums—that tambourine on the high hat—is that not the coolest little titillating
rhythm? It gallops all the way through the song. And then there is, in the
lower frequencies, the thundering drums and bass. Phil Spector really knew to
use drums for both tone and rhythm.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Oh yea, and
then there is the saxophone which moves to the front of the <i style="mso-bidi-font-style: normal;">sound plane</i> to underscore the verse’s
change to the sun-dominant IV chord.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">And we can’t
overlook the use of the strings and upper range of the organ during the bridge
section. Listen to it with good head-phones; these are <i style="mso-bidi-font-style: normal;">in your face</i> sounds that all but scream at you and are perfectly
placed to heighten the climactic moment of the song</span><span style="font-size: 12.0pt; line-height: 115%;">, musically and lyrically,</span><span style="font-size: 12.0pt; line-height: 115%;"> that comes at the end of
the bridge. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Contrast
this use of strings with the instrumental interlude between the last verse and
the repeat of the last verse. This is the verse where he asks her to marry him.
It is not the climax of the song, more the <i style="mso-bidi-font-style: normal;">anti-climax,
</i>that which begins to bring the energy down enough to give the song a
satisfying ending—like beginning to apply the brakes to your car<span style="mso-spacerun: yes;"> </span>in order to stop without going through the windshield.. Here the
strings have quite a different feeling than they did in the bridge. They don’t
scream; they express a sweet, soft, melody, which enables a subtle lessening of
the energy in the repeat of that last verse. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Again,
consider how important the repeat of the last verse is. Without it, the song
would not have had such a smooth ending, and even so, the last line had to be
repeated three times to bring it to a close.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">And what do
we hear at the very end of the song? Yep, that same little lick we started
with:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span>dum
da-de dum, </span></i></div>
<div class="MsoNormal" style="margin-left: 2.0in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">dum da-de dum, </span></i></div>
<div class="MsoNormal" style="margin-left: 2.0in; text-indent: .5in;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">dum.</span></i><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Oh, and by
the way, all that I described, and more that I haven’t, <span style="mso-spacerun: yes;"> </span>actually takes place in a mere two minutes and
thirty two seconds! <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></span></div>
<div class="MsoNormal" style="margin-left: 2.0in; text-indent: .5in;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 115%;">.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-30580220146912923032014-12-12T07:20:00.000-08:002014-12-12T07:20:30.043-08:00Meet Charles Ives<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; line-height: 115%;">So did you
ever just sat still for a while and quietly observe the workings of your mind?
I mean, does it not just go anywhere and everywhere—on its own—right? Thoughts
about the past; thoughts about the present; thoughts about the future… Inspired
thoughts; thoughts you might be embarrassed to share with anyone… But no, this
is a music blog, not a blog about meditation.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Now imagine
that you can spontaneously write down all these thoughts—like James Joyce
writing in what came to be called <i style="mso-bidi-font-style: normal;">train
of thought</i>.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Further,
imagine that these thoughts <span style="mso-spacerun: yes;"> </span>you are
thinking, observing, and writing down—these thoughts which are images and
feelings—are being heard by you as music—as melodies, harmonies, and rhythms, and
that your skill is such that you can orchestrate them in any way and any
compositional style that please you. <span style="mso-spacerun: yes;"> </span>Well, if you can imagine all that, then meet
Charles Ives.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Charles
Ives, the illustrious American composer, was born in Danbury, Connecticut in 1874,
long before the age of computers, sampling, and digital recording techniques.
He was the son of George Ives, a talented and far-thinking church organist, who
encouraged his son to hear and play different melodies in different keys and different
meters—all at the same time. It is told that George Ives even arranged for
different bands to march around the Danbury town square playing different pieces
of music so that his son could experience the effects of the changing
relationships of the sound sources on his musical ear. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Add to this
musical background the fact that Charles Ives considered himself a Transcendentalist
in the fashion of the great American thinker and writer Ralph Waldo Emerson.
The Transcendentalists shared many philosophical views with followers of the
Masonic traditions of the time. These are the same teachings that inspired such
great composers as Mozart, Haydn, and Beethoven. What did they believe? In this
brief quote from an 1842 lecture at a Masonic Temple in Boston, Emerson said
the following:</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">“<i style="mso-bidi-font-style: normal;">The Transcendentalist adopts the whole connection
of spiritual doctrine. He believes in miracle, in the perpetual openness of the
human mind to new influx of light and power; he believes in inspiration, and in
ecstasy. He wishes that the spiritual principle should be suffered to
demonstrate itself to the end, in all possible applications to the state of
man, without the admission of anything unspiritual; that is, anything positive,
dogmatic, personal. Thus, the spiritual measure of inspiration is the depth of
the thought, and never, who said it? And so he resists all attempts to palm
other rules and measures on the spirit than its own.</i>” </span><span style="font-size: 9.0pt; line-height: 115%;">– copied from the American
Transcendentalism Web </span><a href="http://transcendentalism-legacy.tamu.edu/authors/emerson/essays/transcendentalist.html"><span style="font-size: 9.0pt; line-height: 115%;">http://transcendentalism-legacy.tamu.edu/authors/emerson/essays/transcendentalist.html</span></a><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The
Transcendentalists set themselves apart from what they called the Materialists.
Simply put, a Materialist believes in the supremacy of the material universe.
To the Materialist, the material universe is reality—a reality that to the Transcendentalist
proves itself to be passing, transitory, and ultimately inferior to the eternal
realm of higher consciousness, inspiration, and ecstasy.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I speak of
this transcendental perspective because I find it in the music of Charles Ives.
<br />
I am not satisfied with the idea that it just a description, or even an
exploration, of life he experienced in his world of Danbury, Connecticut, or
even <span style="mso-spacerun: yes;"> </span>that world seen through the eyes of
a modern classical composer exploring new musical realms and pushing old
musical boundaries. I believe that Ives grappled with the tensions that exist
between the consciousness of the Transcendentalist and the consciousness of the
Materialist. I believe that this grappling can be heard to one degree or
another in all of Ives’ music. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Familiar
tunes, often spirituals and church hymns momentarily establish themselves only
to fragment and ultimately drown in other tunes and harmonies. In other words,
nothing lasts for very long in Ives’ music. Things come and go, sometimes many
things come and go at once; is this not a valid description of life? Religious
hymns and spirituals, popular songs, music quoted from other composers, all
entwine, vie for one’s attention, and ultimately go—disappear— swallowed
up—lost in time.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">A most
interesting piece of music by Charles Ives is his, <i style="mso-bidi-font-style: normal;">The Unanswered Question. </i></span><a href="https://www.youtube.com/watch?v=kkaOz48cq2g"><span style="font-size: 12.0pt; line-height: 115%;">https://www.youtube.com/watch?v=kkaOz48cq2g</span></a><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I suggest this
link because it shows the notation, but is a rather short version.<span style="mso-spacerun: yes;"> </span>The one I most enjoy is the 7 plus minute
version by the Chicago Symphony Orchestra and chorus, Michael Tilson Thomas
conducting. Please listen to the piece on the best sound system possible or, at
least, through really good headphones.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">There is a
continuous backdrop of shifting consonant harmonies in the strings sounded <i style="mso-bidi-font-style: normal;">sans</i> regular rhythm and definitive
phrases. The music just flows on like a gentle unimpeded stream. Does it
represent the eternal, the transcendental? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">At measure
16, a little over a minute into the piece, a five note motif is sounded by a
horn against the strings.<span style="mso-spacerun: yes;"> </span>Beginning with
a descending diminished 7<sup>th,</sup> the sound is dissonant and unsettled
and lasts no more than a few seconds. Is this the question? What it is? And who
is asking it?</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The harmony
of the strings—could it represent Pythagoras’ <i style="mso-bidi-font-style: normal;">Harmony of the Spheres?—</i>seems unmoved, unaffected by the question.
The piece goes on like that. The constant strings, the persistent, sometimes
disturbed, questioning of the horn, until in the end, the strings win out—or at
least, are the last to be heard. Is the question resolved in the eternal
harmony of the spheres? Or unlike the music by which Ives represents it, is
there really any end to the ‘real’<i style="mso-bidi-font-style: normal;">
Unanswered Question </i>that Ives represents?—And what, if anything, does it
all mean? <span style="mso-spacerun: yes;"> </span></span></div>
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Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-28842615605480656622014-10-28T08:19:00.000-07:002018-01-19T15:58:40.035-08:00Brubeck, Joyce, and the Relationship that Exists...<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; line-height: 115%;">Years ago,
when I was living in Chicago, there was <span style="mso-spacerun: yes;"> </span>an elderly blues-man who often played acoustic
guitar<span style="mso-spacerun: yes;"> </span>in a coffee house in my
neighborhood—I am sorry to say that I can’t remember his name. He began and
ended every set with the song, “I’ll Fly Away.”</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">He wasn’t
flashy either with his singing or his guitar playing, but he was always
engaging and never failed to get his audience tapping their feet and clapping their
hands to his music. His power emanated from his rhythm, though, on the face of
it, he did not seem to do anything that was not characteristic of blues.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Other
players, myself included, used these same rhythms, yet could not elicit the
same response from our audiences—and I, for one, wondered why. I wondered what he
had, or what he did, that we didn’t. I came to the conclusion that it was not <i style="mso-bidi-font-style: normal;">what</i> he had, but <i style="mso-bidi-font-style: normal;">where</i> he had it that made all the difference. I concluded that
while I had the rhythms in my head, he had the rhythms in his body. I reasoned
that since human beings respond to rhythm with their bodies, not with their
minds, then if the rhythms came from a performer’s body, then it would be that which
would make the difference—would give their rhythms power.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">What does it
mean <i style="mso-bidi-font-style: normal;">to have the rhythm in the body</i>?
I decided that it was the body that had to <i style="mso-bidi-font-style: normal;">understand</i>
the rhythm and that <span style="mso-spacerun: yes;"> </span>being able to count and
play a rhythm did not mean that the body understood it. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">For decades
I have been a full-time professional musician—performer and teacher. My studio
is my laboratory. It is there that I study myself and my students in order to
make us all better musicians. One thing that has become clear to me is that for
the average student, rhythm is one of the last pieces to be fit into the matrix
of their music. Again, I am not speaking about being able to count and play the
rhythms, this ability usually develops pretty rapidly with traditional musical
work, but to get the body to really understand rhythm and convey its power
through the music takes a different kind of work—a different kind of awareness.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I think that
James Joyce in <u>A Portrait of the Artist as a Young Man</u> was on to
something when he said, <i style="mso-bidi-font-style: normal;">“Rhythm is the
relationship that exists between the whole and its parts; between any part and
the whole; and between any part and any other part within the whole.”</i> </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The important
word here, the key to his definition, is the word <i style="mso-bidi-font-style: normal;">relationship. </i>Rhythm is relationship and for a relationship to
exist there needs to be at least two—two sounds, two people, two things. <span style="mso-spacerun: yes;"> </span>Rhythm in music can thus be understood as the
relationship that exists between a piece of music and every sound that makes up
that music; between every sound and every other sound within that music; and
also the relationship that exists between every sub-phrase and every phrase and
even every chord within the whole piece of music.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The
greatness of Joyce’s definition of rhythm is that it is not limited to the
relationships that exist between the relative duration of different sounds in
music; it can also be applied to the relationships that exist between the
pitches of those sounds, and all of the distinctions of timbre and dynamics
also. His definition applies also to painting, sculpture, dance, poetry, in
fact, everything and anything that is made up of more than one thing—and perhaps
even to all that appears to be only one thing when we consider that one can
always be in relation to nothing. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><br />
And what is the basis of all rhythm—of all relationships? It is the <i style="mso-bidi-font-style: normal;">self.</i> What we understand as the self,
ourselves, is the beginning of every relationship we contemplate, and to
neglect this truth is to render any study of rhythm and relationship a non
sequitur. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Please
listen to this recording by the Dave Brubeck Quartet of <i style="mso-bidi-font-style: normal;">Unsquare Dance </i>in 7/4 time from his epic recording <u>Time Further
Out</u> ( </span><a href="http://www.youtube.com/watch?v=NDB4K5zCcfk"><span style="font-size: 12.0pt; line-height: 115%;">http://www.youtube.com/watch?v=NDB4K5zCcfk</span></a><span style="font-size: 12.0pt; line-height: 115%;"> ). </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Dave
Brubeck, like the old bluesman, like James Joyce’s poetry and prose, had his
rhythms in his body. He, like them, and the many others not mentioned here in
this blog, communicated their rhythms in a very powerful way to others. They
all inspire me, and hopefully, my music too, and that of the student’s also
with whom I have the privilege to work. </span></div>
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<a href="https://www.youtube.com/watch?v=igRMwiKPLrU&feature=youtube_gdata"><span style="font-size: 12.0pt; line-height: 115%;">https://www.youtube.com/watch?v=igRMwiKPLrU&feature=youtube_gdata</span></a><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
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<![endif]-->Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-32571379508246969772014-10-05T13:44:00.000-07:002014-10-05T13:44:21.149-07:00When a Sound is more than a Sound<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; line-height: 115%;">What do
Shamsuddin Farid Desai, John Coltrane, Toru Takemitsu, and Jimi Hendrix have in
common?</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The answer
is that one cannot understand their music without being appreciative of sound.
Of course all music is made of sound, but knowing that is not the same as being
aware of it. You walk into a room and someone asks you if you were aware of
walking into the room. You think back and remembering the entrance way and the
fact that you were previously outside and that now you are inside, you answer,
“Yes, yes I was aware of entering the room.”—but this is not necessarily true.
Remembering that you did something is not a guarantee that you were aware of
what you were doing at the time. And knowing that you just listened to this or
that piece of music is not a guarantee that you were, at the time, aware of
sound.</span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Sound, what
is it? Let’s first <span style="mso-spacerun: yes;"> </span>take a look at a
sound, a single sound. A sound is not a note. Nobody hears notes. <i style="mso-bidi-font-style: normal;">Note</i> is, in fact, an abbreviation for <i style="mso-bidi-font-style: normal;">notation</i>—an indication of two aspects of
a sound—pitch and duration. Notation works well in a system in which sounds
with specific pitches and specific durations are used to create and express
concrete musical forms—a music in which individual sounds are combined in
various way to create forms. In this kind of music the sound is often
subservient to what it creates. </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">But the
music of Shamsuddin Farid Desai, John Coltrane, Toru Takemitsu, and Jimi
Hendrix make sound itself equal to, or even superior to, what the combinations
of sounds produce. For musicians like these, a single sound can have more than
one pitch and duration of these sounds often cannot be <i style="mso-bidi-font-style: normal;">measured </i>out on a grid defined by a time signature. Also, from the <i style="mso-bidi-font-style: normal;">timbrel</i> point of view, sounds previously
considered non-musical are sometimes embraced by musicians and composers. Want
some concrete examples? </span></div>
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<u><span style="font-size: 12.0pt; line-height: 115%;">The Star
Spangled Banner</span></u><span style="font-size: 12.0pt; line-height: 115%;"> –
Jimi Hendrix <span style="mso-spacerun: yes;"> </span>–<span style="mso-spacerun: yes;"> </span></span><a href="http://www.youtube.com/watch?v=sjzZh6-h9fM"><span style="font-size: 12.0pt; line-height: 115%;">http://www.youtube.com/watch?v=sjzZh6-h9fM</span></a><span style="font-size: 12.0pt; line-height: 115%;"></span></div>
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<u><span style="font-size: 12.0pt; line-height: 115%;">Raga
Yaman</span></u><span style="font-size: 12.0pt; line-height: 115%;"> – Shamsuddin
Farid Desai<span style="mso-spacerun: yes;"> </span>–<span style="mso-spacerun: yes;"> </span></span><a href="http://www.youtube.com/watch?v=P9L9YrMuXuI"><span style="font-size: 12.0pt; line-height: 115%;">http://www.youtube.com/watch?v=P9L9YrMuXuI</span></a><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
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<br /></div>
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<u><span style="font-size: 12.0pt; line-height: 115%;">Impressions
(India)</span></u><span style="font-size: 12.0pt; line-height: 115%;"> – John
Coltrane<span style="mso-spacerun: yes;"> </span>–<span style="mso-spacerun: yes;"> </span><a href="http://www.youtube.com/watch?v=hSViN6lwGKU">http://www.youtube.com/watch?v=hSViN6lwGKU</a>
</span></div>
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<br /></div>
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<u><span style="font-size: 12.0pt; line-height: 115%;">From me
flows what you call Time</span></u><span style="font-size: 12.0pt; line-height: 115%;"> – Toru Takemitsu – </span><a href="http://www.youtube.com/watch?v=kWipy3Q6gAI"><span style="font-size: 12.0pt; line-height: 115%;">http://www.youtube.com/watch?v=kWipy3Q6gAI</span></a><span style="font-size: 12.0pt; line-height: 115%;"> </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">A soundician
is someone who works with sound. Not all soundicians are musicians and not all
musicians are soundicians. But, it is my opinion, that the best musicians are
also soundicians. Without an awareness of, and a feeling for, the living
quality of sound, music seems somehow flat to me—like wallpaper—somehow two-dimensional
instead of three—or four. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Technique is
not only a matter of fingers or lips and tongues, and physical training can go
only so far. Real technique results from a striving to create sound in
accordance with one’s musical vision. To accomplish this, instruments are sometimes
stretched to their limits and when they can stretch no further they are
modified or replaced. Can the same be said for the ones who play them? </span></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-22506765598544049662014-08-30T07:40:00.000-07:002014-08-30T08:55:53.016-07:00Spirit Garden<!--[if gte mso 9]><xml>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">“Spirit Garden” is the title of an
orchestral composition by Toru Takemitsu. It is also the name of one of his cds
which contains an incredible collection of some of his greatest works. The
following thoughts were inspired by listening to this cd.</span></i><span style="font-size: 12.0pt; line-height: 115%;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">“Little
children remember, but only a few, and down they forgot as up they grew” </span><span style="font-size: 10.0pt; line-height: 115%;">– e.e. cummings </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I think I
nearly forgot—forgot that what attracted me to music in the first place was its
power to alter my state (of consciousness/of awareness). The kind of music did
not matter, it could have been jazz, or classical, or pop, or later, the music
of the East; what did matter, was something quite intangible and subjective, it
was whether the music touched something in me—opened some place—where everything
was beautiful and made sense. Life has never made sense to me…</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">I have always
known that it is the silence behind the music that gives music the power to
transform my state. Music is beautiful; doing music can be a beautiful thing;
but it is silence that I have always loved. What is silence? I am not speaking
about merely the absence of sound; it is not the rests in music notation; nor
is silence the canvas on which sounds are painted; silence is the very soul of
sound—silence is sounds’ inner most dweller. Sound can be the messenger of
silence when sound is aware of and experiences the silence within itself. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">There is a
story about a Perfect Master who favored a certain disciple—much to the
consternation of His other disciples. One day they approached the Master and
asked him why. He indicated that he would answer their question and promptly
removed a magnificent gold ring incrusted with precious jewels from his finger.
“What is the value of this ring?” he asked them. They replied that they did not
know, saying that they knew nothing of such things, but, if the Master would allow
them to, they would bring an expert to appraise the ring. The Master agreed,
and an expert was brought, and the ring was appraised for some astronomic
amount.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The Master
then called the ‘favored’ disciple into the room. He had not been privy to the
previous conversations. The Master gave him the ring and asked him its value.
Without any hesitation he answered, “Like this, off your finger, it is worthless,
on your finger, priceless!”<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Silence is
the Master and music is the ring on the Master’s finger.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The music of
Toru Takemitsu not only reminds me, but inspires me to experience that silence
and that state of transformation that I have always found priceless. Was Toru
Takemitsu aware that music can be the messenger of silence? He speaks of
silence often in his writings and conversations. One of his books is titled,
“Confronting Silence.” </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">When the
casual listener listens to music it is melody and rhythm that creates a path
for them to follow through the music. Toru Takemitsu’s music also has melody
and rhythm, as well as harmony and dynamics. But the melodies of Takemitsu are
not the <i style="mso-bidi-font-style: normal;">tune-like</i> melodies most
listeners of classical, jazz, and pop music are familiar with, neither are his use
of rhythms, harmonies, like those found in more familiar musical forms. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Without the
familiar paths, many people feel at a loss to be able to follow, let alone
appreciate the music of Toru Takemitsu… </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Consider an
artist who squirts ink into some container, then presses a piece of paper into
the ink, and then pulls it away. What do think? It this art?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The best
answer I ever heard to this question came from one of my students. Without
hesitating he said, “I would have to see it.” Indeed…</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Andre
Segovia once said, “What the world does not need is another guitar player—what the
world does need are musicians and artists who happen to play the guitar.” The
guitar players works from the outside in. He is like a conductor that follows,
rather than, leads the orchestra. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">A musician
works from the inside out. He is like a conductor who hears the music inside
himself and finds the way to express it through the orchestra. An artist, not
only creates music, he creates art—his music is art. Art has the power to
transform the listener’s state, to wake the listener from his dream of life
into the dream of that which is beyond life—the divine dream that ends in the
experience of real silence.</span></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-65342436116810835942014-07-10T08:52:00.000-07:002014-07-10T08:52:33.420-07:00Channeling the Inner Conductor <br />
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<span style="font-size: 12.0pt; line-height: 115%;">During
intermission at an orchestral concert, my companion asked me about the role of
the conductor. I thought this was very brave of her—most people don’t like to ask
about things they think everyone else knows…</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">The
orchestra is the biggest instrument in the world. It is like a huge living
organ made up of all the instruments and the players who play them. The conductor
is the musician who plays this instrument. <span style="mso-spacerun: yes;"> </span>In concert, we see the conductor at the front
of the stage facing the orchestra. We see him (or her) waving his arms around,
body swaying…</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">But, watch
his gestures carefully; notice how the gestures begin slightly before the
musician’s response; notice how the musicians’ response is simultaneous with
the end of the gesture. What this clearly shows is that the conductor knows
what he wants to hear before he hears it. In other words, the conductor is not
just gesturing along with the music, he is directing it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">A
world-class conductor knows his music and its score. He has researched and
studied the work and is well aware of the history of the work, its composer,
and other conductor’s interpretations. He has a clear vision of the
orchestration, tempo, dynamics, and nuances of acceleration and retard and
crescendo and diminuendo he desires, and he has communicated all this to the
members of his orchestra during a limited number of rehearsals before the
performance. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Those of us
who perform alone—as solo pianists, guitarists, etc. can learn a lot from
studying and emulating the methods and techniques of world-class conductors.
First, we should endeavor to understand all aspects of the pieces we are performing.
We should know them <span style="mso-spacerun: yes;"> </span>inside and out—their
form and formal analysis, their history, the composers’ histories, and the
interpretations of other world-class musicians—and we should feel totally
confident in our ability to perform these pieces—like the conductor of a world-class
orchestra is confident that his orchestra has the ability to follow his
direction and actualize his vision. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Also, like a
conductor, we have to be totally in the present of the music as we play it.
This is a topic that is seldom discussed. What does a musician do when he is
performing a piece of music? Does he think? And, if he does think, what does he
think about? </span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">The
conductor of a world-class orchestra is focused on what he wants his musicians
to do and does not concern himself about whether they have the <i style="mso-bidi-font-style: normal;">chops </i>to do it or not. In our case, the
case of the solo performer, we have to play both roles—the player and the
conductor. The player is the physical body—what is generally called the muscle
memory. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Once the
piece is in the body, the mind that has played the role of teacher—teacher to
the body—is now free to become the conductor. The conductor plays the piece in
his mind, staying in the moment—in the present—of the music as it manifests his
vision in the present. It is in the present moment of the music that our inner
conductor must remain. He cannot be thinking about the last measure that was
played or the measure that is yet to come. He has to know the music that well. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Approximately
2,500 years ago the Buddha was explaining the mechanics of the universe and in
the course of the explanation said that what is called the present lasts 1/17th
of one trillionths of a second! How is it possible for a conductor or a
musician to stay in the present of the music he is conducting? The answer is in
the music itself—in following what is called the <i style="mso-bidi-font-style: normal;">musical interest</i>. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Musical interest
(sometimes called melodic interest) is that place in the music where the music’s
principle interest resides. Many patterns occur simultaneously in a piece of
music—melodies and melodic rhythms, harmonies expressed both vertically as
chords and horizontally as arpeggios, as well as the patterns of phrases,
cadences, dynamics…</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Examples of
musical interest are delineated in the book, <u>The Norton Scores – An
Anthology for Listening</u>. These scores are meant for listening to music and
musical interest is always highlighted by a white band over parts of the score.
Take for example Claude Debussy’s <i style="mso-bidi-font-style: normal;">Prelude
to “The Afternoon of a Faun.” </i><span style="mso-spacerun: yes;"> </span>The
piece begins with the beautiful opening melody played on the flutes. In the
score, this melody is highlighted. Approximately halfway through the fourth
measure the melodic interest moves to the French horns and the harp. In
measures five – ten the clarinets and French horns are highlighted…</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In ensemble
music, musical interest most always can be seen to move from one instrument, or
group of instruments, to another; <span style="mso-spacerun: yes;"> </span>in
music for solo instruments—music written to be notated in multiple line
notation—the musical interest is often seen to move from one voice to another
voice throughout the course of the piece. One consistency throughout all music
is that there always can be found musical interest and it is always continuous
from the beginning to the end of the piece. It is this musical interest that
becomes the center of attention for both the conductor and the inner conductor of
the solo artist. Musical interest is always in the present and being with it is
the way the conductor and the inner conductor remain in the present of the
music.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">This can be
a very subtle thing. Remember the Buddha’s description of the present as
lasting 1/17th of one trillionths of a second. Now a musician can play notes
very quickly, but I doubt that any musician can play a note in the time of a
moment of the present. What this means is that any one note lasts longer than
the time of the present and so, the present can actually be experienced as it moves
through the three phases of creation – birth, life, and death. Staying in the present
of the music allows us to experience these three phases of creation that exists
in each and every sound. Play a note; let it ring for its full duration. First
comes the birth—the articulation. Next the phase of life sustains the sound.
Almost immediately, the life phase begins to give way to the death phase—the
sound eventually dies away. What remains is silence, the place from where all
sounds manifests and where all sounds dissolve...</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">As it is
with every single sound, so it is with every group of sounds, and by extension,
every piece of music. As the inner conductor learns to remain more and more in
the present of the musical interest, more and more an interesting phenomena can
be observed, the musician begins to disappear—begins to become <i style="mso-bidi-font-style: normal;">invisible</i>. When the musician disappears
into the music he creates inspiring art. A good example of this <i style="mso-bidi-font-style: normal;">disappearing</i> can be felt in the
recording of Paul Galbraith—especially his recording of <i style="mso-bidi-font-style: normal;">Bach’s Partitas for Unaccompanied Violin</i>.<span style="mso-spacerun: yes;"> </span>There are moments when it can be felt that
Mr. Galbraith is no longer there—that only the music is there. What an
interesting irony, by staying more and more in the present moment of the music,
the musician disappears.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Listen to
this recording, see if you can hear what I’m talking about, and keep going deeper
and deeper into your own music and begin to disappear—even to yourself!</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-size: xx-small;">(c) copyright Michael Kovitz, 2014 </span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-61381652105499681042014-06-04T08:25:00.000-07:002014-06-04T08:25:53.326-07:00The Times Ther Are A-Changin'<!--[if gte mso 9]><xml>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">“Come mothers and fathers throughout
the land and don't criticize what you can't understand, your sons and your
daughters are beyond your command your old road is rapidly agin'”</span></i><span style="font-size: 12.0pt; line-height: 115%;"> </span><span style="font-size: 10.0pt; line-height: 115%;">– Bob Dylan, <u>The Times They Are A-changin’</u>, 1964</span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">My family preferred Pat
Boone to Elvis and they found Dylan irreverent and annoying, but for me, Dylan
gave voice to questions and possibilities when I was just a child and the first
consciousness of my own deepest thoughts manifested in my mind. </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Those questions and
thoughts have dragged me around my life for over sixty years and have helped to
keep me awake. <i style="mso-bidi-font-style: normal;">“Little children remember,
but only a few, and down they forgot as up they grew.”</i> </span><span style="font-size: 10.0pt;">– e.e. cummings </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Since first hearing
Dylan’s song I have observed that, in fact, the times are always a-changin’ and
the times are also never a-changin’, because everything changes, yet everything
remains the same.</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Take listening to
music. In the old days, I mean the really old days—before recordings and
broadcasts—there were two ways to hear music, listening to others making music
or making music oneself. Now, in the brand new spiffy days, there are still
only two ways to hear music, listening to others making music or making music
oneself. </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">No, I am not forgetting
recordings and ‘live’ broadcasts, but I do make a distinction between recorded
music, electrically transmitted music, and music heard live with the performer
and the audience together in the same place and at the same time. </span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Don’t get me wrong, I
am not against recorded music; I listen to it and enjoy the experience, it’s
just that it’s a different experience and I don’t want to lose the ability to
be able to discriminate between a thing and its reproduction. Take, for
example, paintings hanging in a gallery. What if one night all the paintings
were replaced by photographic reproductions—very good reproductions placed in
the frames of the originals?</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Leaving aside the
question of how many viewers would notice the difference, the question I pose
is: Even for those who do not recognize the ‘paintings’ are reproductions, is
there a fundamental change in the quality of their experience—a change that
they may not even be aware of? My opinion is that there would be and that the
experience of viewing the reproductions instead of the original would be not
only different, but inferior.</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Still, as I said,
recordings do have their place, just not as a total replacement for the ‘live ’
music experience, but leaving aside that question for a while, I would like to
address the question of how music, recorded or otherwise, is listened to, for
here too, the time are a-changin’.</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">I ask my students;
“When was the last time you sat down and listened to music and gave it your
full attention—without doing anything else, not eating or drinking or reading
or carrying on conversations or working…?” For some, the answer is never, or
almost never. Some ask me if watching music videos count. “That depends on how
you do it,” is usually my reply. Music is something that is primarily heard not
‘watched’.</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>I am not arguing the irrelevancy of recorded music
as background or as a component of atmosphere; but what I wish to discuss is
that the pure, pristine, focused, listening experience and the knowledge and
discipline necessary to really listen to music or recorded music. Knowing that if
a muscle is not used it atrophies, I would like to do what I can to assure that
the ability and the desire to listen to music is not lost.</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Think about wine; there
are many different wines and many different occasions for drinking wine, but
some wines demand a special occasion—the right food, the right atmosphere,
sometimes the right companion, and most important of all, the right <i style="mso-bidi-font-style: normal;">state.</i></span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">I ask my students to
include as part of their musical work at least one focused listening session of
ten to thirty minutes each week. I suggest that when listening to recorded
music, use the best sound system that is available, sit comfortably with back
straight, stay alert and relaxed—don’t try to figure things out, just stay open
and let the music come in. Identifying elements of the music, i.e. melodies,
chord progressions, instruments, lyrics, etc. is natural and part of the
listening experience, but don’t let the mind go off on them at the expense of losing
the moment of the music. Always try to stay in the moment—in the present—of the
music.</span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;">Records, became tapes,
tapes became cds, and cds became digital downloads and one day we will all have
chips in are brains that allow us to access all that can be accessed in the
world by just wishing to. Yes, the times they are a-changin’ but to create and
appreciate the arts—and perhaps life itself—the need for attention,
concentration, and contemplation never changes. </span><span style="color: black; font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"></span></div>
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Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com0tag:blogger.com,1999:blog-8290144454766614674.post-27575684071700497322014-05-24T07:47:00.000-07:002014-05-24T07:47:10.778-07:00Art, Music, and the Guitar<!--[if gte mso 9]><xml>
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<span style="font-size: 12.0pt; line-height: 115%;">I sort of
fell into this blog; I knew I wanted to do a blog on music for a while and so a
few weeks ago I just began and posted a short history of Western Classical
Music. I followed that up with a discussion of the Incomplete, Dominant, Minor
9<sup>th,</sup> Chord. When a friend of mine commented that the latter post
might be over the heads of most readers, I told him that I hadn’t yet defined
my voice or my audience. Maybe that’s a good thing? We shall see…</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Musical
thinking is a term I use with my students and colleagues as a replacement for
the more common terms theory and harmony. Theory sounds to me too theoretical
and harmony seems to exclude rhythm and melody. For a while I used the
anachronistic term solfeggio, but that term was just too anachronistic. I like
the term musical thinking, for music is the result of musical thinking. </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Music exists
first in the musical sphere and then manifests in the physical sphere. Andre
Segovia was suggesting this when he said, <i style="mso-bidi-font-style: normal;">“What
the world does not need is another guitar player; what the world does need are
musicians and artists who happen to play the guitar.”</i><span style="mso-spacerun: yes;"> </span>A guitar player’s consciousness is absorbed
in the Physical Sphere; a musician’s consciousness is absorbed in the Musical
Sphere, and the artist’s consciousness is absorbed in the Artistic Sphere.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">An artist
may create art through music and music may be created on the guitar. It could
be said that an artist is absorbed in the Artistic Sphere and then communes
with the Musical and Physical spheres. A guitar player is absorbed in the
Physical Sphere and, at best, communes with the Musical and Artistic Spheres. It
is my experience that guitar players can be very impressive, but that after a while
I start to get the feeling that they speak beautifully but really have nothing
to say. I leave the concert impressed, but not changed.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I remember
how it was when leaving Segovia’s concerts; people were smiling, there was a feeling
of tangible joy in the group and I wondered if it had anything to do with how
Segovia had become a master musician—had mastered music by serving music—by making
his life the servant of music?</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Indeed,
Segovia was an artist who painted not with pigment and canvas, but with sound
and rhythm. Segovia created art and was a great musician and was also a great
guitar player. Listen to the early recordings; hear how he controlled both
silence and sound and time. It is my opinion that no one who has ever played
the guitar did it better.</span></div>
Michael Kovitzhttp://www.blogger.com/profile/14115224768331584660noreply@blogger.com3