Are you as excited for the NFA Convention in Chicago as we are? We just got our booth assignment: Booths 1001-1106 in Salon D, right by the escalators!
The convention is being held at the Hilton Chicago Hotel on August 7-10, 2014!
Need an orchestral excerpt in a hurry? Flute World is now offering DIGITAL DOWNLOADS on select Orchestral Excerpts! Just look for the red “DIGITAL DOWNLOAD ONLY” text!
Stay tuned as we add more selections every week!
Flute World owns Megido Music Publications which is known for its serious Flute Orchestra repertoire. As a part of the National Flute Association, schools can benefit from Megido Music Publications. There are many ways in which you can benefit from this large selection.
Texture through Voices
Musical textures are also sometimes described as being the ways in which the various voices are combined to create a harmony. A string quartet, for instance, has a particular texture to its sound that is derived from the way the various instruments combine and contrast. This also applies to the way that the various voices are combined in vocal ensembles and any other ensemble performance. A woodwind quartet, for instance, may have a very smooth and light texture, while a brass band would have a forceful, brassy texture.
Expression, Dynamics, Style, Tempo and Phrasing
Expression is not just an important part of music, it’s oftentimes the entire point of performing or composing piece. The expressiveness of the musicians in an orchestra, the members of a band or any other group of performers does depend on them having a general structure from which to work. Improvisation is an important element in jazz, rock, blues and many other forms of music, but expression can also be defined and communicated to musicians in ensembles by describing the elements of music that are most conducive to expression.
Listen to your song in performance. Remember that, as Stravinsky said, art is never really finished, it’s just abandoned at some point. That being said, hearing your song for the first time doesn’t mean that you’re done with it. You have to do some critical listening and, if you can, lean on friends or your teachers to give you feedback.
Listen to see if the song really matches with the genre. In some cases, you may hear mistakes that you didn’t know were there. In other cases, you may notice that mistakes you were aware of sound great. Keep an open mind and try to listen to the song as if you’ve never heard it before. Concentrating on your mistakes will not help you refine the song; it will discourage you.
Mozart, according to legend, wrote in pen and never scratched off one note on his manuscripts. In short, the man never made a mistake when composing. Hardly anyone is like that, however, and most artists do a lot of refining.
After you’ve listened to your piece, concentrate on what you might want to change or leave the same about it. You may want to further develop some themes and you may want to completely abandon others. You may want to transpose the entire melody to a more accessible or agreeable key or you may want to entirely restructure the rhythmic elements of the song. Your song should be thought of as being made out of wet clay, not out of stone. You can refine it as much as you want and, as is the case with all writing, a good portion of writing music is actually rewriting music.
No matter where you are, great music comes in all shapes and sizes. However, for Haynes piccolo or Haynes flute accessories in Michigan, West Bloomfield, or Farmington, look to www.fluteworld.com.
Musicology was once a comparative pursuit. Western musicologists used to essentially compare the music of other cultures to their own and, quite often, tried to portray one as advanced and one as primitive. This has changed over the years and musicologists now travel the world collecting samples of the unique musical expressions of the world’s peoples. You can learn a lot about music by listening to it as performed by other cultures.
Understanding Ear Fatigue
While you’re listening to music from other cultures, you’ll experience your own cultural predispositions as you’ve likely never experienced them before. One of the most common manifestations of this is called ear fatigue.
A great deal of the music you’ll hear from other cultures will seem out of key to you, if you’re accustomed to Western music. It’s important to give yourself a break now and then. If you find yourself not taking in the music because the contrasts with what you’re accustomed to are becoming all that you can hear, take a break. World music deserves to be appreciated and, like cuisines from other cultures, it’s sometimes an acquired taste. The old adage “the appetite comes with eating” sometimes applies in this regard. As you hear more and more exotic music, you will develop a feel and an appreciation for its unique qualities.
Time and Distance are the Same
Musicology doesn’t just address the differences in music relative to culture. It also addresses differences in music relative to time. For example, madrigals, Gregorian chants, fugues and many other forms are all European in their origins, but are vastly different due to the separations in time that exist between them.
Studying historic forms of music is another way to explore the music of different cultures. The cultures that produced the grand symphonies of Mozart and the elegant waltzes of Strauss were very different ones than exist today, and deserve to be explored and understood based on their own merits.
Analyzing without Bias:
When you compose a piece of music, much of the work is dedicated toward providing the right balance between comparison and contrast. The same holds true when you’re listening to music from other cultures or time periods. Start by comparing it with what you do know. You’ll use the same skills you’ve used to develop your skills as a musician thus far. Ask some basic questions about the music as you listen.
Remember that listening to music and enjoying music can be two separate things. While you’re exploring the music of any given culture, remember to listen to it from an objective standpoint. In some cases, you may not enjoy some music from other cultures that much. This is fine, but you should still be able to listen to and speak about it intelligently and in terms that go beyond your opinion of it. This is called appreciation and it’s a fundamental component of any serious musical study.
In order to appreciate music, you must study it. If you need sales, repairs, flutes, piccolos, recorders, new instruments, or used instruments, you can easily find a solution to your needs.
For the best flute professionals since 1983, turn to www.fluteworld.com.
Flute World is a member of the National Flute Association and has been exhibiting in many regional conventions each year, all over the United States. In order to truly showcase your skills you can benefit greatly from shows around the world, whether you are performing in them or watching them.
Growing as a Musician
Developing the skills it takes to be a rounded musician can take years. It’s important, however, to realize that practice is what makes it happen. Practice is what leads to great shows. It generally takes most human beings about 10 years to reach the skill level of a master in any subject. Music is one of the most challenging pursuits imaginable, but also one of the most satisfying. To reach your own personal best at music, you’ll have to start by expanding beyond your current horizon and by embracing some challenges.
Reading music is a skill and it’s one of the most important ones that performing artists have. That being said, not all musicians—even in classical settings—are expected to read off of music. If you’re a blues guitarist, for example, it would probably look a bit strange to your audience if you were reading a song off of sheet music, especially considering the fact that the relative simplicity of the music doesn’t necessitate that it be read off of sheets.
When you’re reading sheet music, you’ll want to work the way a politician giving a speech works: you read ahead of where you actually are in the music. As you may suspect, this takes some considerable skill. A combination of being familiar with the piece and with being able to sight read music is what makes very experienced musicians able to read very complex music without missing a beat.
Singing and Sight Reading:
Some people are very intimidated by singing. This is natural: hearing your singing voice is sometimes quite a shock and there’s some embarrassment when you hit a note wrong, especially when it comes out comically wrong. However, the vast majority of professional musicians can correctly sing the notes within a comfortable octave for their voice and there’s a good reason for this: When you can reproduce those tones on demand, you can hear sheet music in your head as you read it and, thus, you can reproduce it correctly, every time.
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