I. Shapes/line/phrasing – Music is not a democracy!
A. Notice where each phrase begins and ends.
B. Look for the arc – the physical shape on the page.
C. Hierarchy: look for royalty vs. servants.
D. Group notes to belong together; group across the beat.
E. Point the phrase; allow the natural flow and settling.
F. Microphrase: slightly bring out the up and down of the line, and always lead to
your phrase notes.
E. Build sequences
1. Add length, dynamic, and/or bow.
2. Don’t keep hitting the same high or low point.
3. Treat a series of sforzandos in this way too.
F. Know the overall structure of the movement; see the large arcs of the sections, as well as the giant arc of the movement.
A. Learn music theory.
B. Feel which chords have more or less tension.
C. Notice what is normal vs. abnormal:
1. Dissonance vs. consonance
2. On beat or off
3. Asymmetrical phrase lengths
D. Feel and support intervals – sing through them.
E. Energize the dot.
A. Notice the density of the orchestration.
B. Where are you in relation to other voices? Near or far? Will you have to fight to be heard?
C. Are you moving with or against other voices?
D. In solo Bach, what is the implied bass line?
E. In doublestops, bring out the string with the most important voice.
IV. Creating characters
A. Make a natural connection between your bow speed and the feeling of the music.
B. Choose your sounding point to reflect the ease, power, or struggle in the music.
C. Articulate with the bow as you would sing – do you sing “yah, yah, yah” or “tah, tah, tah?”
D. Shape phrases with vibrato; vary amount/speed/width
E. Just and equal-tempered intonation will be more serene; expressive intonation will intensify your mood and help you stand out.
F. Left hand articulation can be overdone in lyric passages, but it is often helpful in intense ones.
G. Rhythm can define character. Is the pulse strict? Free? Calming? Energectic?
H. Let your body language and performing “persona” tell a story.
C. Tell a story about the music.
D. Who is telling/singing/dancing the story? What costume are they wearing?
E. What do you feel as you listen and play?
F. Say or write some descriptive adjectives.
G. What is the mood of each phrase or section? Does it change abruptly?
H. Hear the sound in your mind’s ear.