Music is for sharing

Several events and discussions over the past couple of days have reminded me of an essential truth: music is truly whole only when it is shared.

Music is a performing art

Unlike most visual arts, the aural arts are enjoyed while the artwork is being created. Of course there are are exceptions to both categories: the visual art of dance and the aural art component of composition spring to mind. We will discuss the impact of live vs. recorded events in a future article, but for the moment, let’s focus upon how the performance relates to the music itself.

For any newcomers to the Part-Time Musician “playing addiction”, there is nothing quite like a live performance – no matter how small or large the audience – to make you more fully appreciate your music and the impact it can have upon people’s lives. This is about you, of course; after all, you get to enjoy the benefits of your learning, growing, and playing on a daily basis! But when you share your music with others by playing for them, everyone is enriched. Those listening are transported to a world of your creating, and the gift you receive is wrapped in the giving itself. It’s hard to explain, but very real to experience.

Music is an inheritance

Last night, I visited the youth symphony for which I was, for four years, Director of String Ensembles. Watching and listening to the new Director and group, I was impressed with the talent and commitment evident in all involved. When you’re in the middle of the scramble, it can be easy to overlook that. It reminded me of how important it is to pass along your music and knowledge – whether very specific or wide-ranging, structured or just “felt” – to others.

There is an age-old struggle within most musicians, whether full- or part-time, regarding personal advancement vs. contributing to others’ advancement. This often translates to “play vs. teach” in the full-timer’s world, but it’s much more complex than that. Most musicians (or artists of any stripe, really) must strive and improve over time to be satisfied. Taking time to share what you know with others would seem to diminish that, but those who have done so know differently: sharing what you know deepens what you know. And if that isn’t enough, it challenges you to learn (and master) even more!

The Takeaway

As with most things in life, the key is balance. If you want to be the best musician you can be, be sure to incorporate opportunities to share your music and what you know about it. Music truly is a gift from which you gain most while giving.

All the best,
Mark

Like what you see? Subscribe for free updates! We don’t spam you, and we don’t give out your email address to anyone. Period!

Related Articles:

• Handing over the baton
• Musical diversity produces musical “freshness”
• Modern classical music and the brain
• PTMs in the news: “passion players” in the UK
• Fun with music: a classic(al) cinema moment!

Get some rhythm and hold the blues – three great reasons to use a metronome

Whether you play only for fun or for the occasional paid gig, you want to play your best. One simple way to take your playing up a notch is to establish a consistent sense of rhythm, and there is no better way to do that than with a metronome.

Metronomes are not straightjackets; they are tools, and like many other tools in your musical toolchest, they are a very cheap investment in you and your lifetime enjoyment of music. Here are three things a metronome can help you do:

1. Develop a strong sense of tempo(s)

If you’ve practiced various pieces at a particular tempo – say, 100-120 Beats Per Minute (BPM) – you’ll be able to pick up a new piece of music with that tempo marking and know pretty well the desired tempo. This is a huge help when you’re sight-reading, but it comes in handy at other times, as well…like on the night of a performance when you’re distracted or have a really bad case of nerves. 

2. Be a better ensemble/section player

This goes hand-in-hand with the previous point, but it has more to do with keeping the tempo rather than establishing it. As your group/section is playing along, it’s very easy to drag or rush, depending upon any number of factors…or even drag and rush in different sections, if you’re accustomed to hearing your favorite performer/group playing it that way. But what if your favorite artist’s version differs from someone else’s? Practicing occasionally with a metronome, especially when learning a new piece, can help you establish a consistent tempo. This doesn’t restrain you; it liberates you, because now you can choose when it’s appropriate to change tempos, rather than follow the dictates of “that’s how so-and-so plays it”!

3. Master your part

One of the key ways a metronome helps you as a musician isn’t physical; it’s mental. While all of us know that we can master difficult passages by practicing them at a slower tempo, then speeding them up once we’ve worked out the kinks, our own minds often work against us, especially on selections we’ve heard before (and perhaps even played in the past). Have you ever tried to slow down the Barber of Seville? It’s hard to slow Bugs Bunny down, isn’t it? 

Playing at a reduced tempo along with your metronome helps you start slow and finish slow…thus mastering that tricky passage more quickly than you might have otherwise. Once that is accomplished, a metronome allows you to increase the tempo gradually and retain the ground you just gained.

What we use

There are many good metronomes available, but we have two and can offer a few thoughts on them specifically.

If you like the look and operation of a “traditional metronome” – like the one your piano teacher or music director likely had when you were a kid – something like the Wittner mahogany metronome is a good choice. Tempo is set by sliding the weight up or down the pendulum, and the Wittner’s wind-up operation means never having to buy batteries. Well-crafted and beautiful, it’s both a metronome and a classy decoration for your home studio. Priced at around $100, it isn’t cheap…but it will likely last you a lifetime.

One of the best all-around metronomes money can buy, in my opinion, is the Korg KDM-2 Digital Metronome. It functions as a pitch tuner as well (providing a note to which to tune your instrument), but as you’d expect, it really shines as a metronome. It’s speaker can be heard over even a small group’s playing – you can use it with earphones, if you prefer – and it includes a flashing bulb on top for a visual cue as well. Tempo markings are on the front, and tempo can be set or adjusted via up/down buttons or a quick rotation of the large wheel on its face. You can even tap the button a few times to have it determine the tempo! And at less than half the price of the Wittner, it’s feature-packed and wallet-friendly. If I could only have one metronome, this would be the one.

Bottom line

Using a metronome helps you learn your parts better; it also helps you begin and play them more consistently. As a result, you’ll likely notice that it makes you a more respected member of any group(s) in which you play. There are few things more frustrating than trying to play with someone who can’t hold a tempo, and those who can “keep the beat” make playing that much more relaxed and enjoyable.

Break out your metronome tonight, or if you don’t have one yet, get one! You’ll be glad you did.

Keep playing,
Mark

Related Articles:

• Play along to enjoy playing!
• Playing Music Sharpens Your Brain
• Seven low-pressure venues to improve your playing

Handing over the baton

After some months of agonizing over it, I’ve decided…but it wasn’t an easy decision to make.

Four years ago, I took on the role of the Director of String Ensembles for a local youth symphony. My youngest was involved in that youth symphony, and I was glad to be a part of it as well.

My youngest is no longer so young, and while my intention was to “retire” when she graduated, it wasn’t that easy. The kids who were returning sensed that I might not be, and they began campaigning in earnest last season. I am grateful for their commitment to me and to the group; I’ve tried to make it educational, inspiring, and a lot of fun. 

Each year, I do my best to “work myself out of a job” by the end of the season. While I begin the year by holding auditions, selecting the music, and conducting, by the end of the school year my role is largely that of a coach, booking agent, and roadie. The kids learn to work and play together, and I’ve always considered it a great privilege to be a part of the personal growth they experience.

As my own kids get older, though, I feel myself stretching in more directions…and stretching further. Our oldest will be pursuing a violin performance degree at a major music school within a leading university this fall, and our other two are still very involved in major youth symphonies in the local area. My commitments are increasing, and they are changing. Realizing a person can’t do everything and do it well, I have had to make some tough decisions. That’s life, I suppose.

I always try to “work myself out of a job” by the end of each season. This year, I guess I just did a better job of it.

Please feel free to share your thoughts by leaving a comment. I’d love to hear from you.

Keep playing,

Mark

Related Articles:

• Music is for sharing

PTMs as critics, or saving classical music

Yesterday’s article referred to part 1 of Ann Midgette’s piece originally printed in the Washington Post, and it provided some interesting insights into the role PTMs, or amateur musicians, play in the field of classical music. Today’s follow-on article offers Ms. Midgette’s thoughts on the role of PTMs, and the populace in general, as critics.

I have to admit to you that on my first reading, I didn’t get much out of this. But the second reading prompted several lightbulbs to go off over my head, and I’ll confess to thinking about it a great deal ever since.

I play many different types of music, but classical music has such depth and richness overall that I consider it my favorite. Overall. But to be quite honest about it (in homage to Ms. Midgette), I just don’t like modern compositions as a general rule. I’m painting with a broom here, so please grant me a bit of leeway. 

There is a reason some classical compositions are considered classics, i.e. they endure and endear. Although many were considered to be a challenge to accepted standards when they were written, all of the works considered classics today have what an old friend of mine referred to as “toe tap-ability”. Simply put, the listener can tap their foot with the music as it is being performed…or walk out humming it, thinking of the great concert they just heard.

Many modern works seem to have been exercises in sound combinatorics rather than musical compositions. Many seem so focused upon showcasing the various sections of an orchestra that they forget music is performed for someone. And lest anyone think I’m advocating going “100% pop”, let me assure you that I am not…but music that is neither pleasant to play nor hear doesn’t press boundaries as much as it condemns the art form to irrelevance.

My tastes are not universal, and I’m very glad of that! What do you think? Does classical music need criticism to really thrive? Regardless of our individual tastes, should we just politely clap for it all? Continue with obligatory standing ovations? Or does that contribute to a growing detachment and/or dissatisfaction with classical music in general? Please leave us a comment with your thoughts; we’d love to hear them.

Keep playing,

Mark

Related Articles:

• PTMs keep the music alive!
• PTMs in the news: “passion players” in the UK
• PTMs in the news: LA lawyers
• Five Key Challenges for the Part-Time Musician…and How to Conquer Them
• PTMs in the news: Maya Shankar

PTMs keep the music alive!

I knew when I read this that you’d want to read it too. PTMs – amateur musicians – have contributed so much to the vibrancy of music throughout the ages. At times when it was dangerous or impractical to be a full-time musician, PTMs also kept the dream alive.

This article from the Philadephia Inquirer is probably harder on FTMs than I would be – I’ve known far too many who sincerely love their “job” and experience their music to the fullest; but the author does make some excellent points. PTMs often play with more license because there is less cutthroat competition to be there in the first place. The fact that the music is a release for them, rather than a full-time occupation, certainly doesn’t hurt, either.

Whether classical music is your bag or something else, there is a lot to consider here. What do you think? Do you allow yourself to really enjoy your music? Do you think you’d enjoy it more – or less – if your paycheck depended upon it? Post a comment and let us know!

Keep playing,

Mark

Related Articles:

• PTMs as critics, or saving classical music
• PTMs in the news: “passion players” in the UK
• Fun with music: a classic(al) cinema moment!
• PTMs in the news: LA lawyers
• Five Key Challenges for the Part-Time Musician…and How to Conquer Them