Chiff and Fipple Forums

Peter Laban wrote:Fecking classical musicians. Want you to control your instrument so you can turn your mind to playing music instead of struggling to catch your breath.

What were they thinking?

Pat Mitchell, in his magnificent article on Structure and Rhythm in Irish Traditional Dance Music wrote:When a person begins to learn to play western European art music (‘classical’ music) they get a
thorough grounding on their chosen instrument in scales, rhythms, phrasing, legato, staccato,
etc. – the basics. There is generally a list of pieces recommended for listening to, to help
beginners interpret the written music and to give example and inspiration. Then they move on
to more complex items – ornaments, arpeggios, the more difficult scales – until finally they are
in a position where they can concentrate on expression and communicate their own
interpretation of the music written down by the composer. They have completely mastered their
instrument. Their focus at this stage is on music, not on the technicalities of the performance –
though by the way, they will still need to spend much time practising to facilitate this focus.
While it might not be desirable to follow this process step-for-step I believe we can draw useful
parallels in the progression from mechanics to expression and in the focus on listening.

the article goes on to describe what elements to listen for, and how to work on approaches to irish music. And I mean LISTEN, not play a cd over and over.

Look it up, it may provide you with some insights.

Cathy Wilde wrote: daggone it, good music -- music that moves, that expresses, that engages the player and, if an audience is around, them, too -- is good music, period. Doesn't matter what or where it's from <b>or what it's played on.</b> It's that simple.