Wolfgang Amadeus Mozart has been quoted as saying, “The music is not just in the notes, but in the silence between.” Here’s the full quote in its original, as it was attributed to Mozart by several sources—unfortunately, none of them by giving an exact source: “Stille ist sehr wichtig. Die Stille zwischen den Noten ist genauso wichtig wie die Noten selbst.” Translation: “Silence is very important. The silence between the notes is as important as the notes themselves.”
How do you compare professional orchestras? Budgets? Maestros? Management? Players’ salaries? The percent of great concerts, reputations? I suggest looking at energy and posture! I like to count the number of violin and viola players who are leaning back in their chairs as opposed to those with shoulders not touching the backs of their chairs.
Competition can be inspiring, and it can also be an alarming distraction. I believe good competition is the kind of competition that promotes your best concentration, your best potential, and the best version of what you have to offer the music world.
Professional musicians, including classical performers, free-lance musicians, teachers, or workers in associate fields of music (including sales, recording, technology, composition) face new challenges in a post-pandemic world.
The gift of youth is that children love to play. When teaching young children music, they naturally respond to song, dance, and rhythms that allow them to communicate their experience with their bodies and instruments.
What’s the difference between a good High School band or orchestra and the current U-tube internet sensation: The Venezuelan Youth Orchestra conducted by Simon Bolivar? BTW, this 26-year old maestro is the music director designate of the Los Angeles Philharmonic Orchestra?
By Barry Green for Bass Play Magazine
Where does music come from? What inspires it and how can we communicate this inspiration in a performance? The way we answer these questions might seriously affect the way we play.
Is the performance and teaching of music still bringing you joy? Is music feeding your soul? Are you communicating inspiration to your students? Do you feel the pressure of competition; of being an award-winning teacher or having your students succeed to the next level?
“I don’t want to say I’m on a crusade for the bass,” says Barry Green. “l’m more on a crusade as a musician, saying something everybody wants to hear. The bass just happens to be my voice.” If Green, a virtuoso soloist and world renowned educator,is not the Knight Templarof acoustic, he may be the conquering Hannibal. After all, he did once take the stage astride an elephant.
In May of 2007, an exciting new three-movement work called
Heart Soul and Stomp was written by world famous composer
Allaudin Mathieu (The Listening Book, Harmonic Experience), based
on improvisation concepts that I learned at David Darling’s
I hope to inspire artists of all disciplines, that our performances come from our hearts and souls and not the technical form of dance, music, or words. Performers express feelings and use this gift to spread inspiration and joy to the world.
Are you a bass player, string teacher, bass teacher, student, amateur, or professional?
I love teaching the bass. But for me, the joy of teaching is in the journey. I love being present during
growth, illumination, and inspiration. It’s easy to be obsessed with technique and forget that making music
is really about expressing energy and feelings with the international language of music.
Tennis professional Timothy Gallwey developed a method of mental exercises, known as the inner game, as a result of his observing how the best coaches worked, how his coaching style sometimes helped or hindered those he taught