9/20/2023 0 Comments Lack of musicality![]() ![]() The musical shape of a phrase can be defined, described and executed by a combination of numbering relative note weights and by recognizing the phraselet structure. Note grouping is one way to learn to express musicality in a classical style. ![]() This is an example of this numbering system in use in a famous bassoon solo from Tchaikovsky’s 4 th Symphony that is very similar to the oboe solo in the same piece:Īnother way to express and define the musical content of a piece, note grouping also involves breaking larger phrases into smaller gestures, motivs or phraselets (often not on the beat) to give more meaning, and to help to propel the musical line forwards, as in this example:įrom “Expression”, website by Martin Schuring. Remember that phrases are not usually one directional there may be one or more smaller peaks on the way to the main high point of the phrase.” This may or may not be applicable for your instrument.) Numbering makes it easy to see where the high point of the phrase is, and how to get there in gradual stages. ![]() (I believe Tabuteau started his counting at zero, to include a wind player’s preparation for the note. But when each note is expressed with care for its particular role in the melodic line, the line has shape and life.īy assigning a number from 1 to 10 to each note of the phrase, where 1 is the least significant and 10 is the most dynamic, you can get a clear picture of the direction of the phrase and how to shape it. When two notes are played in exactly the same manner, the motion of the phrase stops. In any phrase, no two notes are alike, whether in duration, volume, emphasis or intent. “The basic idea is this: Every phrase, and the legato used to express the phrase, expresses motion. This is an article about note grouping, by Anne Sullivan. Marcel Tabuteau, usually considered the most seminal American oboe teacher, brought the idea of note grouping to the oboe and wind community in North America. Oboists usually need to work on playing with a smooth legato to better bring out the musical line, as the oboe can naturally be fairly uneven tonally and dynamically.Īs well as attending to the overarching musical shape, musical impulsion can benefit a great deal from attention to the small gestures. ![]() A good sound is nice, but of less importance.įor more variety in colour and dynamics, oboists need to explore changes in articulation, vibrato, character and tone colour even more than other instruments. Diminuendos, particularly long, on the oboe can be challenging, especially with a hard or less responsive reed. What is it that makes them more engaging to the audience? Any aspect is important to note, whether it is how they shape the musical line, how they talk about the music, the acoustics of the hall, or even how they are standing or what they are wearing.įor an oboist, the reed needs to be comfortable, i.e., responsive and easy on the embouchure to play consistently musically, in tune and with a good dynamic range. Which performance is more interesting? Which performance captures the audience’s attention more effectively? Not everyone will agree every time, but there will be performers that are clearly more engaging to almost everyone. Listen to several different performers playing the same piece. Listen to those performers, and go to their concerts. What feels like an engaging performance is somewhat subjective, but there are performers that many people are drawn to in all genres of music. Adequate preparation becomes key for effective musical communication. That said, if playing the notes is not automatic enough, the stress of trying to produce them can very much limit the ability to communicate with an audience. When moving toward the center of a phrase in a rhythmic context, the note issues often take care of themselves. Good preparation, good reeds, and successfully dealing with performance anxieties can allow players to focus on enjoying the moment of the communication with the audience.Įven in the initial stages of learning a new piece, most technical issues are much less daunting when the focus becomes the musical line. Nerves can also play a big role in a musician’s ability to deliver a compelling performance. Unfortunately, musicians often get so wrapped up in the technical aspects of playing they can forget the audience is even there. Performing is about sharing music with the audience, engaging listeners in the musical energy of a piece through nonverbal communication. ![]()
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