3/4 time...

In Waltz collections for piano, Fryderyk Franciszek CHOPIN's Waltz Op. 64 No. 1 is found written in 3/4 time - a tempo which is often referred to as a "rhythmic dance time".

With that thought in mind, why then are there so many fingers acting as "mini-pistons" insistently driving this composition ever faster?  Traditionally called the "Minute Waltz", and originally timed as such, why is there such an urgency for the performer to produce a "flashing finish" (usually to elicit an overwhelming audience response)?

Technical studies abound in every music store, from "you name it" publisher for every instrument.  Many of these studies from yesteryear may be "out of print", as the copyright has been lost.  But, we are fortunate to have access to many of the technical studies that produced the musical ICONS who are no longer with us.  Others find these studies and carefully present them to us; converting what has been written into what might be considered as our "'How To' treasure trove".  Therefore, we are not abandoned to the attitude of "whatever makes one 'feel good'", and are made aware of period technicalities at our fingertips.

This then begs the following question:  In today's fast paced world, has velocity become the manifestation of audience as well as self-assessment?  In other words, does driving at maximum speed on the Autobahn speak to superior driving skills?  Or is it all just adrenaline?

The use and need for unrestrained velocity in performance may be viewed as an attempt to hide the flaws in one's understanding of the nature and purpose of technical studies.  Paraphrasing the old adage, "Learn the rules, break them later" should be analyzed and reviewed when planning repertoire for performance and/or musical enjoyment.

What then?  Look for that special forest and "chop wood" until desired musical acumen is developed and heard.





Elevator Photo:  "Hall y ascensor principal del edifice de oficinas en Chacabuco 78, Buenos Aires.  Arquitecto Julián Garcia NÚÑEZ, año 1910".  Public Domain via Wikimedia Commons.

The Musician's Challenge of Saying "NO!"

The status of being a Musician, more often than not, suggests a "million dollar" contract to oneself.  Included in this contract would be the calculations of the myriads of monetary funds spent in pursuit of accomplishing one's musical goals, as well as the "lend-lease" program financing one's instrument of choice.

This "self-driven" contract has no legal precedent which might explain when and under what circumstances a negative response or "NO!" is, in fact, appropriate.  There is neither contract small print, nor the representation by Talent manager to speak in behalf of "self".

So, what is one to do when approached to perform - whether it be Solo, Vocal, Instrumental, Accompanist - and you strongly wish to decline the invitation?  Perhaps one is justified in refusing, or maybe the negative response is based upon a somewhat more obtuse or irksome reason (What? No "harmonious 'vibes'"?) Whatever the cause, it is exactly at that moment when "self" realizes it is at the mercy of the fickle, yet powerful "Court of Opinion" should a "NO!" be stated.

Many realities are available with persons who were once asked to substitute for a Principal musician, who had said "NO!" for a certain performance, and subsequently gained exposure and stardom.  But, what of the Principal who refused?  Very few words are ever said about the aftermath of losing one's place; knowing that it is irreversible in light of the substitute receiving even greater reviews with this big "break", and thus leaving the Principal's career at stake.

It may be safe to conclude, for a musician at any level, whether  "A" lister to "Z", a "NO!" is a word that might easily be defined as a condundrum or paradox that only "self" may be in a position to solve.  With the realities of life, a timely or an untimely "NO!" may leave one with either a lifetime of regret, or the beginning of a lifetime of great joy.


Elevator Photo:  "Kaufhaus des Westens", 1907; Public Domain via Wikimedia Commons.

"For the Love of Music": Subjective Investments

     Writing about "financial wizardry" as a strong suit is rather questionable on my part.  However, in seeking to discuss the time in which one might purchase that "perfect" instrument,   I chose to delve into a 2016 book entitled, "Investing 101" by Michele CAGAN, CPA to take a hard look at the terminology of what is currently at issue: the meaning of the word "Investment".
   
     The kit-and-caboodle of the purchase is a huge financial undertaking that includes not only the desired instrument, but also music lessons, music score purchases, transportation to and from practices or performances, proper recital or performance attire; not to mention any unforeseen incidentals, as well as your personal time away from home or employment. Therefore, one should consider both "long-term", as well as "short-term" goals in answering the question of "expected outcomes" once the investment has "matured".

      Both Investor and Investee must take into account their own subjectivities as they consider the possibility that the final investment outcome may end up being in another area due to life choices. Therefore, it is not solely about the instrument's monetary value, but its reciprocal value seen when one participates in a Community Orchestra... Hearing the joy expressed while playing, performing; reminiscing about times past; and seeing the beaming faces of musician and audience member alike. It is this reciprocal value that grows from the love of the instrument, and the impact that music has - from the beginning music student to the "matured" music enthusiast.



Photo: "Kaufhaus des Westens", 1907; Public Domain via Wikimedia Commons.