arrange • compose • conduct
The longer I write music, the more I think in terms of timbre minimum. Timbre, to my ears, is more important than specific voicing. What kind of sound is it? Is it unison? 2-part? 4-part close position? 4-part open position? 6-part? Is it vocal percussion, vocal bass, and three part […]
More and more, I’m enamored with chords I can’t label under a triadic/diatonic/jazz framework. They might be quartal chords, whose labels never seem to quite successfully describe how they work. They might be the passing clustery nonsense in Alice Parker’s arrangement of “Vive L’Amour“, which work great because of the […]
There are almost always many different ways to notate the same thing. As simple a change as 4/4 vs 2/2, to more complex metric changes (3/4 in 1 vs 6/8 in 2, e.g.), enharmonic notation, even notating a rubato vs. just using fermatas. When you have to decide how it’s […]
I have observed consistent memory challenges throughout this year. Music that students have shown no problem memorizing in the past have stymied students this year. They just can’t seem to hold onto the salient details. I think it comes down to a few things together: Singers have had less frequent […]
Sometimes, when my ensemble is having trouble with a spot, I say, “and now…a pause for literacy.” Actually, I usually say music theory, but music literacy is s friendlier and more accurate term. Sometimes a problem spot is a problem spot because there is some structural component that the ensemble […]
I’m wrapping up lessons for the semester at Grand Rapids Community College, and I’m reflecting with each student on goals and what they’re carrying forward. At the heart of all my teaching is this: tools not tunes. I’d rather my students learn one fewer new tune in a semester, but […]
Don’t outsource your rhythm: own it. Who might you outsource your rhythm to? A drummer. A fellow ensemble member. A conductor. The only outsourcing that’s worthwhile is a metronome in the practice room. And even then, you should still be engaging actively with the rhythm, so that when the metronome […]
Music theory (or as I prefer, music literacy) seems among the primary focuses of music school and, to a lesser extent, many secondary music programs. Setting aside the hegemony of focusing almost universally on Western tonal theory, maybe we can ask, “What’s it for?” Why are we pushing music literacy […]
One of the things I love about attending masterclasses and clinics from master musicians is that I can glean new words to put around musical ideas. Sometimes the words are harder than the ideas – I can grasp a concept, but not succinctly describe it. Hearing someone else’s words can […]
We learn to practice a specific way of listening in music school. Listen to assess. It’s the first stage of an important recursive cycle that is essential to the growth we have to achieve with a music degree. Listen to assess. Assess for flaws. Correct flaws to grow. Repeat. It’s […]