Repetitions

     Today, a proverbial "switch" has been flipped on that allows for an immediate feeling of accomplishment.  With this new year, forgotten are the seemingly endless hours spent repeating scales to achieve that "satisfactory" success; whether having smooth hands, or no voice "cracking" into another tessitura.

     In today's technology, one can perform as soloist with a recording, and even add concert audience approval to the extent that an obligatory "encore performance" is required (Cue "Applause" here.)  It does beg the question:  with all this technology at the whim of the budding music student, where have the honored standards of "time, sacrifice and effort" gone?

     When our children do not practice, we as parents prod, and cajole...promising future success in their endeavors with "you name it" support.  Growing up, I, too, remember my parents' faithful unending support in my own musical efforts.  However, my practice session results were varied - Mostly NOT!

     Technology has so rapidly increased, when is there enough time to include pedagogical studies with the appearance and  inaccurate perception of "success" available at the touch of a button?

     It is not about the named music teacher that one has, but the "grass roots" instructor who loves to teach and spends endless hours hearing that Bach Fugue that the fledgling music student can't seem to get his or her head around...

     Private music teachers should be greatly admired and applauded for their tenacity and intense efforts to combat the ever present technology time interference that can lead to a false sense of success and accomplishment in their music students.  Therefore, for this new year...

Happy 2016 to all Music Teachers everywhere!

'Tis the Season for Angelic Voices: Countertenor and Coloratura

Have often wondered how present day environmental and technological changes have affected the natural demand of the Countertenor and the Coloratura. The rising interest in Early Music and Baroque lends itself to the need for these gifted individuals...









Definitions of Countertenor and Coloratura  (Oxford Concise Dictionary of Music, 5th edition):

      A Countertenor "as not (sic) to be confused with a male alto, falsetto, or 'Castrato'."

      A Coloratura is "one whose voice is flexible enough to cope with the demands of elaborate and agile ornamentation in melody..."

 Examples of musicians performing Baroque Ornamentation with its "runs, cadenzas, trills, roulade..." were featured in the 1994 film "Farinelli: Il Castrato"; with the angelic voices of Countertenor Derek Lee RAGIN and Coloratura Ewa GODLEWSKA.


Farinelli:  Making Of (French Language)



Farinelli, or a comment on the recreating the voice of a castrato by fusion of timbres
http://www.medieval.org/emfaq/misc/farinelli.htm

"Aspirer et Expirer"

The relationship between music, emotions and the formula thereof has been revisited from time immemorial. It speaks to an internal receptor which identifies, reacts, and expresses itself through one's breathing.
      Was it Pathos in Phrygian, or Lydian Modes, such as a "Miserere" sung by a Soprano? Could it be the selective tradition of Ornamentation written in a Period style that takes one's breath away? And what of the Corset - the infamous style rage - that has often been portrayed as prompting swooning or fainting in the wearer; especially if its constriction was ill-placed?
      Breathing pattern configuration lies at the foundation of eliminating the ultimate performance fear; running out of breath. This may be illustrated as while in an exalted state of emphasis, one loses timing and thus the structure of the phrase; awakening to the reality that there is much more to be included. For String players, this amounts to the panicked thought, "Uh-oh! No more bow!"
      An early understanding of the relationship between breathing and phrasing, along with tried and true Solfeggio and Rhythm training, prepares a music student for long-term analytical interpretation and conveyance of a particular Composer's proprietary formula.
      Upon entering an elevator with implicit fear - whether breathing in ("aspirer") or breathing out ("expirer") - and hearing Beethoven Chamber Music or a Vivaldi "Season" for the umpteenthtime - just go with the rhythmic flow...

"Arms poised in preparation", said my Conducting Professor. "Look around... Now on the upbeat... BREATHE!"



 Photo Attribution: Wikimedia Commons - Image by TARS631 at tramwayforum.at