“The upbeat use
to get to the one
To facilitate expressive phrase construction,
gesture (physically), and
think (conceptually) of the last beat in the bar as an upbeat to the following one.
1) A) Dynamics and B) Expression are strongly correlated systems in music - they behave like linked particles. Two sides of one musical coin, A=B.
1,1) Dynamics stretches the fabric of musical time (meter, rhythm); therefore Agogic, as an aspect of Dynamics, is also an agent of musical expression.
1,2) Timbre is critical to the character of that fabric; it is an aspect of the dynamic line (think voice) or of the balance between dynamic lines (think orchestra) and also an agent of musical expression.
1b) Dynamics, Agogic, and Timbre in music are domain of the measurable world and can be displayed in a Cartesian coordinate system (i.e. soft/loud, in-time/late, dark/bright), a material phenomenon. Ineffable Expression reveals itself through the inspired interplay of these three definable aspects.
2) B) Expression and C) Meaning, while two phenomena (B≠C) in verbal language*, are inseparable in the musical language** and also behave like linked particles. Two sides of one musical coin, B=C.
* In verbal language the C) Meaning of “Frosted Flakes are great!” or “I am your father, Luke” or "I love you forever!" is contained within the written words but their B) Expression, when said out loud, is a different phenomenon (think Shakespeare). ** In musical language C) Meaning cannot be derived from the written score (think MIDI) - it is entirely dependent on "saying it out loud", a phenomenon of B) Expression in performance resulting from the trident of A) Dynamics, Agogic and Timbre.
2b) Expression and Meaning in music are domain of the mind and soul only; immeasurable, numinous, and yet evident; a phenomenon and triumph of the human spirit.
3) Dynamics3, Expression, and Meaning are all strongly correlated systems in music: a trinity of linked particles. Three quantum-entangled sides of that one musical coin, A=B=C.
MUSICAL ENTANGLED TRIAD FORMULA: DYNAMICS = EXPRESSION = MEANINGRead more
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The study of silence in music as a part of the expressive vocabulary is imperative to musical literacy.
Sometimes the sound (balance, colors, transparency, gesture) of a musician is purely an attempt at imitation of a sound of great pianists from recordings ~ for example the sound of the iridescent brilliance of Horowitz or the crystal clear articulation of Gould. Taking a great pianist's sound as an inspiration for a personal quest is beneficial. Taking an infatuation with the idea of a sound ~ the idea of one self producing that sound, rather than with the music that contains and necessitates that sound, which needs to be discovered and examined, i.e. trying to copy a great pianist's sound without understanding, is detrimental.
The mystery of the sound of the great pianists is not a matter of how - although that is a serious but approachable challenge - but a matter of why, which is the mother of that mystery. If one wants to learn from the sound of the great pianists, one has to investigate not only the physical approach, but also the motivation that produces that sound.
When ever Mozartesque Chopin or Chopinesque Mozart (or anything esque for that matter) is heard, the musician is in love with the idea of a particular sound, and with the idea of being in love with the music, rather than being actually in love with the music, with all of her demands and desires. The sound of great pianists is their own, quit trying to imitate it. And: Never stylize style!
The composer loves his special harmonies like his children, wants to show each single one; each is dear, each is special. Cherish the children of composers!
Harmonic tension (dissonance) is like air pressure that needs to be equalized, resolved by a flow with direction.