Inspired

I am grateful for the sense of inspiration that comes from a lot of my work these days. It has something to do with there being a good match between my specific gifts and the specific needs and interests of my students.

Today has been the culmination of several lines moving through my life as of late, and that puts me in a particularly gratifying place this evening.

Before Thanksgiving, I was reminded of a truth that one learns to be true by living for a while: We can and do change. I always need that reminder when I stumble. Our efforts over time do change us.

Something I'm learning about being healthy: When challenges appear, try not to let every area of your life slip into crisis mode. If I can keep some practicing or composing going on a nice schedule, or if I keep some exercise regiment or can keep some semblance of discipline in my eating, then I have a better chance at keeping the real issues I'm struggling with in perspective.

Today I had the privilege and blessing of meeting with one student and hearing their story of becoming a pianist. Knowing and telling the stories of how we became musicians is so powerful and grounding.

My ear training students gave me some fine insight into what would make their experience better. Actually, one of their ideas is something I've known or suspected for many years but just wasn't sure about how to bring it about. Now I'm thinking I really need to do it because the students also believe it would help. It will take some work, but there will be more joy and success because of it.

Then I got to teach a lesson on Haydn D Major Concerto. Here are some of the ideas from that lesson.
- Performance is about projection and communication of all that we have discovered and practiced. In that way, it's a lot like public speaking. Talk/play to the person on the last row, and your voice will have enough energy for the whole room.
- The dynamic of piano and orchestra: the piano is a piano but might also be an orchestra, so look out orchestra.
- The importance of communicating clear and convicted pulse when playing with orchestra; the idea of telegraphing the nature and timing of the orchestral entrance by the way you play the preceding beats.
- The need for "hard rhythm" or rhythmic spine, often in the left hand, at moments that might otherwise feel a little indefinite and mushy.
- The value of solfege for understanding the tensions of voice leading - what a tremendous tool for teaching the feeling of music.
- The fact that a score can look and sound simple and clear but can convey such an incredibly rich record of the human experience.
- The spiraling pattern of passages of repeated harmonic or thematic patterns with variation: much like the book of Isaiah in which a message continually develops through commentary.

That lesson was followed by a faculty meeting that concluded with a time of prayer in which we prayed for the various needs of individuals and our institution.

Tonight I'm enjoying our scotch pine Christmas tree that's full musical ornaments. We also have Floyd the Illuminated Christmas Flamingo in the guest bedroom window.

And my son and I had a good talk about what it means to be family tonight.

Thank you everybody for a day that has meant a lot to me.

Recording

Over the weekend, a colleague and I recorded ten art songs at a studio a couple of hours away. I thought it might useful to somebody for me to share a few reflections on the experience.

If you're working with a studio or engineers that don't have a lot of experience recording classical music, you will need to let them know what you want. You'll also need to plan how you want to perform so that you're happy with the end result.

It's not unusual to have the mics within three feet of your face or instrument. A lot of recording people feel that closer is better. A problem with that approach for classical musicians is that we do not prepare our way of performing to be heard from that distance. The piano sound is too direct, plus there can be extra mechanical noises within the instrument that normally don't make it off the stage to the audience. The singer's breath will be much more present than is intended and much more detail of the voice will be heard. In addition, the singer's normal range of dynamics and intensity may create issues when recorded from so close.

In the case of art song, engineers who don't do lots of classical work won't necessarily know that the "vocals" don't need to be way in front and might make the piano seem to have only a hint of its normal body. Neither singer nor pianist is likely to be happy with such a mix. Once the mix moves in the direction of what we'd expect to hear in the concert hall, the engineers might be a little anxious that the voice that the voice doesn't seem dominant enough. Of course, your singer will know what he or she wants.

One up-side of all of this capability for technological manipulation is that you really don't have to worry about balance if you're being recorded with separate mics in separated spaces. For the pianist, that means that you don't have worry much about using a transparent sounds so as not to compete with the singer's timbre. The engineers can create something like that for you.

Another positive is that you don't have to keep repeating things to get one complete and acceptable take. Some editing can be done. It's a good idea to think through where complete breaks in sound can occur in your repertoire because editing at those points will be easiest.

Musically speaking, it's probably best to go for clarity. Look for places where it could easily become a little unclear as to what beat or part of the beat is being heard. Then, plan to play those spots with appropriate inflection so as not to confuse the listener. Strong, clear lines are also important. They might even need to be stronger and more compelling than in a public performance since there are no visual cues for the listener.

If you have two or three days in the studio, I think it's wise to use all of the time available toward the beginning of the process. Even if you are feeling less fresh towards the end of the first day and want to go home early, you'll be glad you pushed through when things get bogged down in editing, etc., on the second or third day.

Finally, try to stay relaxed. It can be very hard to do, but I think it's highly unlikely that you'll perform better if you're uptight. Here's how it goes for me:
1. I don't want to create the need for any extra takes as I want to make things as smooth as possible for my singer. Thus, my baseline is to not make any silly errors - wrong notes and so forth. That's not normally my focus in live performance.
2. Add to that the way one focuses when accompanying - mostly focusing on being together in time. I don't want to be early ever, and I don't want to be noticeably out of sync.
3. If a wrong note happens or if we're not as coordinated as I like to be, then my brain tries to fill up with "How bad did that sound? How not together were we?" while we're still recording the rest of that take. More often than not, those things don't sound as bad in the playback. I have to trust that fact and dismiss the unhelpful questions that come up in midstream so they don't take over. At least that's what I try to do.
4. Then there's the constant starting and stopping which is also foreign to live performance. Here, it's worthwhile to truly wait until you're ready before you begin each take. Your focus is the most important thing in the recording situation.

One more idea: take along some candy to keep your energy up.