Lessons School Didn't Teach

School doesn't teach everything we need to know for a career as a collaborative pianist. We definitely get a solid grounding in music history, theory, and performance. What I have found most difficult to learn are the important lessons rarely discussed in the classroom. Here are a few of the conversations I wish someone had had with me before leaving school.

• Repertoire lists are important...and challenging! Every music school should advise students to maintain a thorough repertoire list on the first day of class! It's also important to determine what material is included. Is it limited to only works performed publicly or does it include every piece of music I successfully navigate in lessons? Should it only represent what I'm prepared to perform at a moment's notice? Those questions just address content, too! There are issues of organization and layout as well as developing a plan of how and when to update the list.
• Practicing smart is essential. If you are working as a musician, the reality is that you may not have large chunks of time to devote to personal practice. It's important that you learn how to make the most of short segments of time scattered throughout the day as well as developing skills to learn music very rapidly.
• Knowing how to play does not completely equip you to teach. Teaching is an art that every pianist should develop. You probably don't want to start with more than 3 or 4 students though. There is much more involved than simply showing a student where to place their hands on the keyboard! It takes time as well as trial and error to develop your skills as a pedagogue. Teaching group lessons and lecturing about music are also challenging (and fulfilling) opportunities the pianist should explore.

There are many other topics such as pricing, scheduling, and turning down gigs that need to be discussed as well. What lessons have you learned? Share your advice and experiences in the comment section below.

Playing Through the Pain

The Spring 2014 semester at Union University has closed and it's time for some reflection. The term was filled with joy and sorrow for the entire campus, but was especially felt by the music department. In the midst of all of this, I struggled with severe headaches just as the bulk of my recitals came to the stage. For the first time in my career, I found myself needing to play through the pain.

As pianists, we are ever mindful of our hands and arms. Before proceeding, let me be perfectly clear: I DO NOT ADVOCATE PLAYING WHEN PAIN OCCURS IN THE HANDS OR MUSCLES ASSOCIATED WITH THE PHYSICAL MOVEMENT OF PLAYING. There are times, however, when we are dealing with pain in other areas -- physically or emotionally -- and do not have the luxury of canceling. These are the times that the show must simply go on. Here are a few things I learned that helped me play through the pain.

• Consult your doctor quickly. Pain is not normal and should not be ignored. A visit to the doctor can put your mind at ease, (hopefully) diagnose the problem, and provide information and relief from the pain. (At the time of this writing, my doctors and I have not determined the cause of my headaches. I'm taking comfort in the fact that some things have been ruled out and the pain is being effectively managed with medication.)
• Rely on your preparation. You learned the music when you were feeling better. You invested the necessary time to thoroughly prepare the repertoire for performance. Now is the time to have confidence in the process and allow some aspects of the music to happen automatically.
• Adjust your expectations. When feeling less than perfect, most musicians will not play as well as they normally would. Rather than becoming frustrated with the results, acknowledge the effect your health has on your playing and know that you will play as beautifully as you possibly can in the moment.
• Don't be afraid to ask for adjustments. Are the lights exasperating your ailment? Can an adjustment in the stage arrangement make movement less painful? You are an integral part of the performance, so ask for modifications. Those sharing the stage with you are probably aware of your health issues and want to be accommodating if at all possible for the benefit of the performance as a whole.
• Breathe! Now that the concert is under way, it's time to enjoy the music as much as you can. There's no harm in taking a cleansing breath on stage between movements or slightly extending your time off stage.  If an extra moment allows you to communicate more effectively, your audience will graciously wait.

I hope none of you ever find yourself needing to play while in pain. If you do, take comfort that many times your audience will never know if you take the necessary steps to relax and give the best performance you can in the given circumstances.

Symphony Surprises

On Monday evening, I returned to my alma mater to hear the University of Memphis Symphony Orchestra present its first concert of the semester. While many of the faces on stage have changed, I was extremely impressed with the quality of music coming from the stage.

When I looked at the program upon taking my seat, I didn't have high hopes. The performance featured winners of the 2013 Soloist Competition. There have been some wonderful winners in the past; my problem was with the instruments listed.  Winners played clarinet, cello, and EUPHONIUM! Really? I was expecting a night that I simply had to get through without falling asleep.

The opening piece, Concert Fantasia on Motives from Rigoletto by Luigi Bassi, was lively and well played. I was mesmerized by the student's technique; I was distracted by my dread of the next piece on the program. (Hey! I'm just being honest!) When John Stevens' Euphonium Concerto (2004) began, I was delighted to realize just how wrong my preconceived ideas had been. The first movement of the concerto was an adventure in sound that delighted. Soloist Geoff Durbin displayed absolute control of the instrument and masterfully colored sounds.

The highlight of the concert, however, was Schelomo by Ernest Bloch. The piece for cello and orchestra is described as a Hebraic Rhapsody, inspired by the writings of Solomon in the Biblical book of Ecclesiastes. Cellist Nathan Cottrell's playing grabbed my ears and refused to let go. His passionate performance conveyed a sense of the questioning and searching of the Hebrew people. I was reminded of how much I have enjoyed listening to Bloch's music and again made a mental note to check out more of this composer's repertoire.

One of the things I love most about music is its ability to surprise and invigorate listeners despite their expectations. That's the mark of great music and powerful performances.

Bach Documentary

While surfing the Internet looking for material to share with my online music appreciation class, I found an amazing documentary on the life and music of J.S. Bach.  Bach: A Passionate Life was produced by the BBC with narration by the English conductor, John Eliot Gardiner. The documentary is extremely interesting and contains excerpts from many of Bach's sacred works, including the St. John and St. Matthew Passions as well as the Mass in B Minor.  Approximately 90 minutes in duration, it is a worthy investment for every musician and music lover.

Voices of the Oppressed

I am in the process of slowly reading Rebecca Rischin's For the End of Time: The Story of the Messiaen Quartet. I find myself deeply moved to think that such tremendous music could have possibly been produced in the midst of the tragedy of the Holocaust. I've never had the opportunity to perform any of the Quartet for the End of Time, but it is definitely on my bucket list.

Last week, the arts and humanities faculty at Mid-South Community College were challenged to brainstorm possible topics for inter-disciplinary courses that we might develop in the future. Since my mind was already dealing with the Holocaust, I immediately began to think of an appropriate way to work the Messiaen into a larger course for non-musician undergraduates. My thought was a course combining history, literature, music, and art that focuses on the oppressed.

At first, I thought the topic would be far too disturbing for most students. Then I began to realize that in many of these situations, the creative arts express a level of hope that exceeds the bounds of the victims' situations and looks to the freedom that is promised in the future. Many of the works are grounded in a common faith that there is a Higher Being at work in our lives. I was encouraged to think of the impact such a study might have on students who are facing personal difficulties in the Delta.

Which oppressed groups would we explore? That's still open for debate. From a musical perspective, I clearly thought of the spirituals of the American slave as well as the importance of music in the 20th century Civil Rights movement. Messiaen's quartet represents the music of the Holocaust as well as the piano solos of Gideon Klein. It would also be interesting to compare the music of South Africa during the days of Apartheid with the American Civil Rights songs, as well.

When you think of music of an oppressed people, what music comes to mind? I'd love to have your feedback and ideas.

Understanding Classical Music: Texture

Many children discover that they prefer food of a specific texture. Toddlers tend to prefer foods that are smooth and easy to chew.  As the child ages, he becomes more willing to explore new textures as long as there is a comfortable and appealing taste at the forefront. With maturity, we learn to appreciate the variety and contrast that vegetables and delicate sauces bring.

Music can also be described as having various textures. Some compositions have a single melody line that soars above an unobtrusive accompaniment. Others are marked by a single musical line that dances about our ears without the aid of any other sound. Still others delight our senses as the multiple melodies intertwine, making a beautifully complex sum of its individual parts.

There are three basic types of musical texture.  First comes monophony. Monophony literally means "one sound." Monophonic music is the simplest in texture, having only one musical line. No contrasting accompanying figures compete or support the line. It is not a matter of how many voices or instruments are involved, but rather that they are all "singing" the same musical line.  A child singing a familiar nursery rhyme alone on a playground is an example of monophony. A classroom full of children singing the same nursery rhyme in unison without an accompaniment also constitutes monophonic music.

In art music, monophony is most obviously found in Gregorian chant of the Medieval era. Monophony can be used in later eras as well when a composer wants to draw special attention to the melody. To hear an example of monophony, listen to this Kyrie.

Homophony implies "same sound." Homophonic music has multiple voices (or musical lines) that are all supporting a single melody.  In other words, a simple melody is set against a chordal accompaniment. The supporting voices never threaten to take the interest away from the melody. Many early art songs and arias are homophonic in texture.  The aria "Tu se morta" from Monteverdi's Orfeo demonstrates the use of homophony in early opera. The texture can also be heard in Chopin's Nocturne in Eb Major. (While the accompaniment of both pieces is rather active, notice that the melody is always the focus; the accompaniment simply serves to propel the piece along.)

Polyphony is quite possibly the most commonly found musical texture. Polyphonic music has multiple voices that are all of equal importance. That's why we call it polyphony, meaning "many sounds." Polyphonic music is the most complex texture and the most interesting to our ears. As an example of polyphony, listen to this fugue by J.S. Bach as well as the energetic "Gloria" from Bernstein's Mass.

It is important to remember that textures can change within a single composition. So a composer can begin with polyphony, briefly shift to monophony and/or homophony, before returning to polyphony. Want to hear an example of mixing textures? I can think of no better example than Handel's glorious Hallelujah Chorus!

Preparing for the Olympics

I am not an athlete. Any activity that involves a ball or blades is simply not for me. Every few years, though, I become an armchair athlete as I root on the Olympians gathered to represent their nations in sporting events of all kinds. One of my favorite parts of the Games is watching the medal ceremonies. I'm moved by the passion of the athletes who have dedicated so much of their life for this moment. I also enjoy hearing the national anthems of the triumphant nations.

I don't think I am in the minority when I admit that I am not very familiar with many national anthems. In addition to the American anthem, I feel confident that I could pick out the Canadian, French, English, and German anthems. Beyond that, I'm at a loss! If you are as interested in the music as I am, I may have found a website that you will also enjoy.

Nationalanthems.info contains historical information about the development of the anthems as well as mp3's and sheet music for many of the national pieces. I found myself surfing the site for quite a while, learning about the music's transformations over time.

As the Olympic Games draw near, it might be interesting to have my students compare the sounds of anthems from different parts of the world. By having them describe how the sounds of the Italian anthem differ from that of the Turkish, students begin to explore the similarities and differences between the various musics of the world.

Happy surfing!