Skip to main content

Music and Movement

I've been re-reading through my collection of performance and teaching books, and remembered how much I love this one.

Eloise Ristad writes beautifully about using movement, and acting, and the occasional silly game to release the creativity and inherent musicianship and even the technique of her students. The stories resonate with me, because I feel as though my most successful lessons are the ones in which an unexpected, informal turn of phrase makes a student suddenly connect the dots.

In a recent lesson, a college student and I were working on phrase direction. I talked about the music moving forward or resting as it approached and then arrived at a cadence.  No real result.  We talked about keeping his articulation consistently light while ADDING direction and flow to the cadence.  He couldn't find that technique in himself either.

 We bounced back to good old Barret page 46 - an intensely dull-looking set of exercises on short notes and slurred notes in scale patterns.  We talked about Tabuteau's system of "up" and "down".  I tried to translate that into the visual of a violin bow.

I was dancing all over the room, making phrases with my body and my arms, and talking and talking and talking, and it finally occurred to me that the problem was that I was SHOWING but he wasn't DOING.  I asked him to play two measures of quarter notes which went down up up up down up up up down, and to ACTUALLY go physically up and down with the words.  He spent a few minutes on his tip toes raising the oboe and bringing it down, and suddenly he got it.  I could close my eyes and still hear the direction.  After just a few minutes he could stand still and still produce it.  The breakthrough ONLY happened when he translated our words into his body, and after we got there he couldn't go back to hearing motionless, static quarter notes, or to making phrases artificially with length or dynamics.  It was a night-and-day difference.

I talk about body language when I teach - but I rarely ASK for it.  I loved reading Ristad's book to remind me that words are not always the solution.  It's inspiring to have new teaching ideas.  This is a book I'll keep returning to.

Comments

Popular posts from this blog

Discouraging Words

I can remember at least two old cranky violinists coming to talk to young me about NOT going into music.  There was a session, for example, during a Rochester Philharmonic Youth Orchestra retreat in which a real RPO professional (who was probably 47 but whom I remember as ancient) told us that, statistically, no one who graduates from music school wins auditions for jobs because there are only like 4 jobs out there in the world and 7000 hotshots coming into the job market every week. 

Quit NOW. 

I may have misremembered the details of this speech, but I remember the emotional jolt.  It was designed to discourage.

Last weekend I was presenting at a Double Reed Festival, and heard some oboists grumbling about another presenter who had evidently given something of the same talk to a roomful of masterclass attendees and participants.  High school students and cheerful adult amateurs.

And look, there's an element of truth to this.  Classical music is not a growing field, and it is leg…

Shaq and the Oboe

Here’s my FAVORITE thing about that Shaquille O'Neal video everyone's sharing this week - it’s how HAPPY he is playing this silly game and how little he CARES what the oboe actually SOUNDS LIKE or how to play it. 
Almost as if the oboe is not a giant obstacle to overcome.

Instead of focusing on the CRAFT of the instrument, the precise fingerings, the quality of the sound, the finesse of the vibrato - his focus is on DELIVERING the SONG.   It’s on COMMUNICATION, not perfection.


What a LIBERATING concept!


When I am playing my best, I find that I can surpass the STRUGGLE and come to a place where my focus is on communication.   I can sing through the instrument, and I can use that voice to reach out and find someone else.  This is really what being In the Zone means for me - it's when I don’t have to engage with the OBOE and instead can be generous with my VOICE for the audience.


I seek and strive for this Zone all the time - it’s the whole point of practicing! I practice long…

Warming Up - Long Tones

I must not talk enough about warmups. I say this because recently, in my last lesson ever with a student leaving for college, I was mentioning something about my warmup regimen and his jaw dropped. Apparently long tones and intervals and scales with varied articulations are not part of his daily routine, nor had it ever occurred to him to use his band's warmup period to improve his playing. And I'm not telling this story on him, but on myself. Obviously I need to address the warm up period because it is fully half of the playing I do, and sometimes more.

Much of practicing is focused on learning a specific piece - either something you are performing at a specific time in the future, or an etude for your lesson, or the piece you're playing in band or orchestra. You are working on the specific problems or techniques that that piece requires. Of course you are working in as efficient a way as possible, and at the end of your practice period you can play the passage or pi…