|Proper Prior Practice Prevents Piddly Poor Performance
Once again, David and I have been traveling and performing and once again, I’ve met creative colleagues — teachers, performers, church musicians all. Of course, we talk about our work in all its guises and share ideas, thoughts, repertoire, and pithy comments.
From my conversations with Gregory Largent in Saginaw, Michigan comes the inspiration for this article — the 7 P words. These seven little words just happen to be very apropos this month with the Jordan Organ Studio Spring Recital just a few weeks away.
Let’s take this pithy little phrase apart and see just what we performers are up against!
Proper = of the required type; suitable or appropriate.
Prior = existing or coming before in time, order, or importance.
Practice = to perform (an activity) or exercise (a skill) repeatedly or regularly in order to improve or maintain one’s proficiency.
Prevents = keep (something) from happening or arising.
Piddly = pathetically trivial; trifling.
Poor = worse than is usual, expected, or desirable; of a low or inferior standard or quality.
Performance = a person’s rendering of a dramatic role, song, or piece of music.
Pretty, Pleasant, Pleasing, Profound, Polished, Passionate Performances!
Dr. Jeannine Jordan, concert organist with her husband David, media artist, are the creators and performers of Bach and Sons, From Sea to Shining Sea, and Around the World in 80 Minutes — live organ concerts with multi-media.
Posts tagged ‘pedagogy’
What creates a musical performance? The correct notes? Playing with “feeling”? Dynamic variation? The proper tempo?
In a discussion with a colleague recently we were discussing that age-old question of a musical performance. I take the liberty of sharing some of his thoughts in regard to Abby Whiteside’s teaching of the mid-1950’s and 60’s.
The concept of an overall propelling rhythm MUST be there to carry us through. Whiteside’s use of the word “rhythm” in that context meant a palpable feeling of forward movement in the music. Some performers try to get someplace with nothing but notes, which is like someone trying to speak without breath behind each spoken phrase. We can shape the syllables with our lips, but without the breath coming through vocal cords, there is only silence. Whiteside’s use of the word rhythm means the breath that impels the forward movement of the music.”
To quote Ms. Whiteside: “Put a rhythm in your body and keep it going.” A lesson for every teacher, student, and performer.