Expression

Someone asked me recently about how to release emotions, ideas, expression into her playing. It’s a great question that players of all levels can get a lot out of for themselves.

Expression doesn’t happen by itself. And it isn’t all about technique.

Putting musical expression into your playing may be easier with better technique, but just because someone has the technique doesn’t mean they’re going to have expression. In fact, it’s easier to learn better technique if you have ideas about musical expression — not only is there more motivation, but if you have an idea of what you want to hear, you’re more likely to figure out how to get that sound.

In classical music, dynamics are often written into the music, and for many, this turns expression into just another technical exercise. One time I judged a high level fiddle competition where a classical player played a nice slow air, but when she played it again, I realized she was playing it exactly the same way. It lacked genuine, responsive feeling.

In this little article we’ll look at some ways you can add expressive ideas to your playing, and then include a few tips on enjoying it more and making sure people hear what you’re trying to do.

You can try this with any tune, but let’s suppose Continue reading Expression

The Musical Fork In the Road

It’s a nice time for a hike — smell the fresh air, step over tree roots and rocks, notice a fallen tree, glimpse a vista through a clearing.

Then comes the fork in the road. The trail diverges and we have to pay attention and make a choice of which way we want to go. Once we’re on the new path, though, we once again fork-in-the-road_300step over rocks, sniff the air, chat with a friend.

Playing a piece of music is a little like following a trail through the scenery. Our footsteps are the beats. We follow a trail through the notes. And often we play notes that follow the same path we’ve followed before–until we come to the fork in the road.

Familiar note patterns–whether from other phrases in the piece, other pieces we know, or from scales and arpeggios we’ve practiced–are very helpful in learning and performing music. But our fingers can also be duped by them. The fingers may happily follow a familiar trail as we busily watch all the scenery–intonation, tone, dynamics–only to find ourselves suddenly fumbling through the woods because we got off the trail.

Instead of being frustrated that we messed up, it may be that we just need to Continue reading The Musical Fork In the Road