December 27, 2015

Music, Memorization and Dyslexia

I was reading a book with an article by a dyslexic musician the other day. He said he had always been terrible at memorizing music on cello but good at sight-reading. When he took up guitar, he discovered he was good at memorizing but bad a sight-reader on that instrument. After some thought, he concluded that the constant need to look at his hands on the guitar might close a loop between reading music, playing music and remembering music. His theory is that when you look at your hands, you connect the notes you are reading with the actions of your fingers and both with the musical sounds, which may assist in memorizing the music. The trade off was that he couldn’t look ahead in the music as much as is required to sight-read well.
“Sight-reading and memory” by Michael Lea from Music and Dyslexia; A Positive Approach edited by Tim Miles, John Westcombe and Diana Ditchfield 

Reading music can be similar to typing by touch. When you look at the words, you understand them but you are not processing them in a way that is about remembering them. You are just letting your fingers type the letters as you see them. In music, you play the notes as you see them, the information flowing from your eyes to your fingers. You may remember a fair amount, possibly even all, of the music after practicing it for a few weeks but that isn’t the same as memorizing it well enough to perform by memory. Anyone who has prepared for a contest where memorization is required can tell you all about that! And I often feel nervous about my memory unless I have spent intensive time playing without music in front of me. The time spent playing with the music is simply not helpful on that score (sorry about the pun).

I have observed that instrumentalists who are expected to memorize most of their music tend to be ones who can see what their hands are doing easily, without contortions. In fact, piano, guitar and harp players are expected to watch their hands. Meanwhile, wind players are actively discouraged from trying to look at their hands or fingers while playing for the very good reason that it twists you up and it is nearly impossible to play while doing so. They are also allowed to read music in performance more often. Strings tend to be somewhere in-between these two groups both in the memorization expectation and in how easy it is to see their hands while playing.
Now, mirrors are often used by wind players to check embouchure and hand position. It occurred to me that we flute players should try setting up our music stand right in front of a mirror so that we can look from the music to our fingers in the mirror with minimal movement. I have, unintentionally and unconsciously, used this trick to memorize music in the past but only after learning the music fairly well. Next time, I’ll try it when just starting to learn the piece and see how my twisted brain reacts.

November 25, 2015

Artemis Who Loves Song and Dance

Rising Full Moon
The Wild Wood
We are familiar with Artemis as the huntress of wild things, the independent Goddess of the Moon who refused to marry and guards young children. But she is also a Goddess closely linked to singing and dancing. 
The Dancing Hunter
In myths and poems, Artemis is described as loving to sing and leading her nymphs in song as often as they hunted. Artemis led the Muses in circle dances and directed their choir singing (before Apollo became their manager). Young girls dressed in saffron tunics and danced a bear dance in honor of Artemis before they were allowed to marry. In myths, Helen, Ariadne and girl after girl were abducted while dancing or singing for Artemis. Aphrodite once disguised herself as a mortal and claimed the same thing had happened to her to make her story convincing. Many dances were considered sacred to Artemis: circle dances, winding chain dances, lively jigs with wild leaps into the air and dances where the dancers dressed as plants, deer (or other animals) and the opposite sex. Karyatis, Kordax and Korythalia are all titles or names linked to Artemis and the dances that were done in her honor.
Deer in Winter
The Moon and Deer are Symbols of Artemis
A few of Artemis's musical (or at least noisy) titles include; 
-Hegemone “leader of dance" or "choir leader.” 
-Hymnia “of the hymns” or "lover of songs." 
-Celadeinus/Celadeine “strong voiced" or "lady of clamors.”
And a final observation of my own; Erato the Muse of erotic and love poetry, wedding music and sometimes dance, is sometimes shown holding a bow and arrows, like Eros the God of love. And Artemis the leader of the songs and dances of nymphs, Muses and Graces, is most often pictured with bow and arrows today.

Eclipse Crescent Moon
When the Moon shines, Artemis dances with the plants and animals

Artemis is the untamed singer beside the forest stream who leads us into the harmonic wilderness. She is the conductor hiding within the ensemble, the dancer in costume, the disguised side of ourselves who sings duets with those she loves.

October 23, 2015

Playing the Baroque Flute

I'm not an expert on the Baroque flute (also called Traverso.) I was trained on the concert flute and that is where a lot of my skill comes from. But I've been playing Baroque flute for a couple of decades now and I believe I have enough experience to share some tips.
In many ways, information about any transverse flute, modern or ancient, can be transferred to the others. But they do have their personal quirks which is what makes them so interesting (and frustrating) to play. Fingerings, tone, volume, range, chromatic notes, basically everything shifts for each flute. This is what gives them their unique sounds.  

There are several books on Baroque flutes, old and new, out there and I do suggest taking a look at one or more of them. "Method for the One-Keyed Flute" by Boland has some great advice for ANY wood flute, care instructions and some technique exercises. Treat the fingerings as a starting suggestion (this applies to any fingering charts that come with a flute too). Each flute works a bit differently and you may find a different fingering works better. Most of these books assume you already play the modern flute or have a teacher and do not include much basic how-to-get-a-sound-out stuff. If you are starting from scratch you may want to talk to, or take lessons from, a flute teacher to get those basics down.
When looking for advice and tips, keep in mind that there are several different Baroque flutes out there. The flute went through a radical redesign at the beginning of the Baroque era (1600-1750) and then continued to change without any one style becoming standard. Some of the changes included the shape of the bore (inside of the tube), adjusting the tuning and adding a key. Then they added a couple more keys. Then they added yet more keys.  Then they argued about which keys were useful and which were "decadent." The only key they all more or less agreed on was that first one. After that, it was anyone's guess which keys an instrument maker would use. Plus, some Baroque flutes can be taken apart into 3 pieces, some come in 4 pieces, some have multiple different sized middle sections and the foot joint can sprout a telescoping extension. There are reasons for all these apparently conflicting designs; they sound different and some music works better on one and some on an other. Baroque music was not uniform or standard and musicians and audiences alike loved variety so naturally there was a wide range of instruments to go with all the different musical styles.

In spite of all that, tips for one style of Baroque flute can generally be applied to the others. But it helps tremendously to know exactly what kind of Baroque flute a person is talking about.
I play a one-keyed, four-piece Baroque flute. It is one of the simpler (though not simplest) styles. It has some of the most limits on chromatics and scales unless you are comfortable with half-hole fingerings. It is one of the last flutes that could be held to either side of the body though it was usually held to the right so the flute section wouldn't knock into each other too often.

photo by Kenton Samual
Baroque flute in action. Photo by STL Photovisions
Baroque flute, Maple wood
Baroque flute in pieces. Maple wood.

Now here are my three main tips (plus one extra);
1) Work with tuning and modes.
2) Try to improvise on the flute you are learning.
3) Finally play the flute regularly even if you don't sound the way you want yet.
Extra; Consider learning the pennywhistle.

1) Tuning on the Baroque flute is not the same as the concert flute. Not just because of the reduced chromatic notes either. The internal scale is tuned a bit differently than a modern flute and it takes time to adjust. Any tuning work on any flute will help so if tuning the Baroque flute gets too frustrating, do some tuning exercises on another flute for a bit. This improves your ear which WILL help your tuning on the Baroque flute eventually. Remember, as your ear improves, you hear the flaws in your playing more and it can feel like you are getting worse. You aren't. Your hearing and your playing are just improving at different rates.
In general, typical tuning issues on the concert flute are magnified on the Baroque flute. For example, the 3rd and 7th degrees of the major scale need attention. And any note in a chord that needs tweaking on the concert flute likely will need very careful adjusting on the Baroque flute.
Closely related to tuning is playing in modes. These are scales that use different patterns than major or minor. Playing in a mode is often easier than trying to play in many major or minor scales other than the scale the flute is tuned to. (That's what all those keys are for-chromatics and shifting keys.) This is why you will find quite a bit of older music and folk music that uses modes. It fit the instruments better (or the instruments fit the music better if you prefer). 
What's more, playing in a mode makes you listen to your tuning differently. You will notice that some modes are easier to play in tune than others. This is partly a result of how you are listening to and adjusting your tuning. Each scale rearranges your hearing and tuning sense whether you notice it or not. A note that sounds fine in one mode may sound badly out of tune in another. This teaches you a lot about the tuning of your instrument.
This takes time and work, no way around it. But here's the good thing; if you keep at it, you eventually will develop a more instinctive understanding of how to adjust on the Baroque flute. You will always need to pay attention but it will become more natural, at least on some scales.
This link is a short introduction to the modes if you want to know more about them.

2) Now, improvising is a WONDERFUL way of getting to know an instrument, in my humble opinion. Chasing down a melody in your head will really teach you what an instrument is capable of in your hands. Additionally, playing a wide range of music helps you find out what works on a specific instrument faster than almost anything. I suggest looking at older music that was written when these flutes were commonly played (though some of these may prove a bit challenging!) or folk music. This music is often written with some awareness of which chromatics are difficult to handle. Take these tunes as leaping off points; ornament them, add notes and let the tunes lead you into improvised melodies that explore the flute's sound. But don't stop there. Experiment with music you like that is outside the typical style for the Baroque flute. Some pieces will work, some will sound dreadful and others will sound oddly transformed. This is all useful when getting comfortable with a new instrument.
You also need time to develop the tone you want and improvising is a great tool for that too. The tone of a wooden Baroque flute will naturally be different than a metal concert flute (this is why many people like it.) But there is a wide range of possible sounds within that wood tone. Listen to your sound, the sound of other players and see if you can change your sound to match others. Experiment to find out just how many changes you can make to your tone. Not every change will create a "pleasant" tone and this is ok for our purposes. The more tone options you have, the easier it is to create a tone you like or that fits a specific performance. It is nearly impossible to describe in words just HOW a person changes their tone. We tend to resort to "relax your throat" or "let the air pour out" or "make it sound like melted chocolate" to cause students to change embouchure shapes. The control of those tiny muscles develops almost subconsciously the longer you play and listen to others. Which makes playing for fun (and I think improvising is wildly fun) one of the best tone exercises around.

3) Don't be discouraged if you don't sound like a virtuoso right away. Just keep at it. Playing/practicing in short, regular sessions is the key. Five minutes once a day will bring about improvement. Fifteen minute sessions each day or every other day are plenty long enough when starting out. You don't want to exhaust yourself and regular practice rather than long is what keeps you from forgetting what you've learned.
And if you miss a day (or three) don't beat yourself up. You won't forget everything THAT fast! Besides, breaks are good both for your playing and for your enthusiasm. I firmly believe that having one scheduled day a week that you do not practice (unless you just feel like it) keeps you from getting overwhelmed and frustrated. You need that down time to remember how much you enjoy playing, to find and listen to recordings you want to sound like and to get some rest.

Whatever you do, make sure you have fun! Perfection is not the goal of music; delight and joy is.

P. S. It recently occurred to me that learning the pennywhistle is tremendously useful for learning the Baroque (or any period) flute. Whistles use a 6-hole fingering pattern that is basically the same as the Baroque flute AND uses cross-fingerings most people don't mention with period instruments. The cross fingering are not always transferable but sometimes they are. And learning the 6-hole fingering without any keys first makes adding in the keys a bit easier. Add to that, you get to hold the whistle in front of you and PUT YOUR ARMS DOWN! Trust me, the chance to rest your arms and keep playing is fantastic. Not to mention whistles are a great deal of fun all on their own.
Just make sure you get a pennywhistle with a tone you like! You don't have to go to the most expensive or fancy whistle (though you can; I sprang for a wooden whistle by Gene Milligan and couldn't be happier). But do ask to hear a sound clip or try the whistle out first to see if you like it. I suggest Elf Song Whistles (the Jasper Whistle) or Tilbury Whistles as fairly good starting points but not too expensive. Or look up the "Wandering Whistler" on-line and check out his whistle reviews.

August 31, 2015

The Gem Flutes of Gilgamesh and Tammuzi

I put off this post in a deluded attempt to find more information but have now admitted the truth; I likely have all the information I can find. Both of these instruments are only mentioned in fragments of myths, making our information spotty at best but I'll do what I can.
First, a note about the term flute in these myths. The instrument in Gilgamesh’s story is often called a flute in English translations (and other languages) however it most likely was a reed instrument. This seems to be an extremely common mistranslation when dealing with old texts; any old or archaic wind instrument that is basically a hollow pipe is translated as flute regardless of the type of mouthpiece or how it is held. Why I’m not quite sure aside from the translators not realizing that “pipe” is a generic instrumental term and was never exclusively used for flutes. In the case of Gilgamesh's story, there is some doubt as to what kind of instrument is really meant but it was almost certainly end-blown (held vertical to the body instead of horizontal) and most likely had a reed in the mouthpiece. I have yet to find anyone examining the term for Tammuzi’s wind instrument but given the prevalence of musical translation issues and the popularity of reed instruments in this time and area, I think it is safe to assume it wasn’t a flute either. At this point, the use of the word flute in translations of myths is so common, I think it is quite reasonable to include these stories as part of the flute’s mythology so long as it is made clear when the instrument in question was really a flute or reed instrument.
Second, I apologize for using so many different versions of Dumuzi/Tammuzi and Ishtar/Inanna. It is a result of the how many cultures have told these stories and the fact that I do not feel qualified to simply "merge" the names into one without damaging the stories. I have kept things as simple as I could.

The Carnelian Pipe
The story of Gilgamesh and Enkidu comes from Mesopotamia. This is a very old and very fragmented poem. The different fragments are pieced together in different ways creating several versions. In short, Gilgamesh is the King of Urek (possibly Sumeria or thereabouts). He has divine parentage (quite common for royalty in myths) and a bad temper (ditto). Enkidu is created by the Gods to be his friend and calm him down. They have a number of adventures and encounters with the Gods which are anything but calm (but at least they stop bothering ordinary people so much). Eventually, Enkidu dies and Gilgamesh holds a funeral for his friend. In the process, Gilgamesh offers a wind instrument made of carnelian to Dumuzi (the Sun God is witnessing this ceremony I believe, not keeping the offerings) so that Enkidu will be welcomed into the afterlife. It is worth noticing that he also offers a flask made of lapis lazuli to Ereshkigal for the same reason (both lapis lazuli and Ereshkigal will be mentioned later). 
He displayed to the Sun God a flask of lapis lazuli
   for Ereshkigal, the queen of the Netherworld:
"May Ereshkigal, the queen of the teeming Netherworld, accept this,
   may she welcome my friend and walk by his side!"
He displayed to the Sun God a flute of carnelian
   for Dumuzi, the shepherd beloved of Ishtar:
"May Dumuzi, the shepherd beloved of Ishtar, accept this,
   may he welcome my friend and walk by his side!"
---from Book VIII of the Epic, lines 144–149

The Lapis Lazuli Pipe
Now for Tammuzi’s other wind instrument we have to look at the story of the descent of Ishtar into the Underworld. Again, there are several different, fragmented versions of this story. Ishtar is often related to Inanna the Sumerian Goddess of love, fertility and war. Tammuzi/Dumuzi (and various other spellings) is Ishtar’s/Inanna’s lover. Ishtar/Inanna decides to go to the Underworld to see her sister Ereshkigal the Queen of the Dead. In the process, Ishtar/Inanna basically dies but being a Goddess, she can return to her home and divine role of keeping the world alive if some one will take her place in the Underworld. Now while she was gone Tammuzi/Dumuzi has been living it up in her palace, sitting on her throne and playing a wind instrument (often called a flute but likely something else) made of lapis lazuli. She sends him to take her place in the Underworld supposedly for not mourning her properly. Tammuzi/Dumuzi took his lapis lazuli instrument with him to play comforting music for the dead. In some versions Dumuzi’s sister takes his place for half the year so he will not always be dead. The seasons change when they trade places in the Underworld. 

A Few Gems
We don’t always know exactly what stones the ancients meant by carnelian or lapis lazuli but they generally meant something reddish with carnelian and something bluish with lapis lazuli. We do know they meant something valuable as these gems were used in trade and by royalty. It would have been expensive to make instruments from them but not impossible and since both stones were associated with the Gods, anything made from them would have been appropriate as offerings. There have been a number of gem encrusted flutes (and other instruments) made in history, both for display and just to see how they would work, so there’s no reason to assume more ancient cultures wouldn’t have made instruments out of something flashy too. It is also quite common to say someone in a story or myth is playing an instrument made out of unusual or exotic materials to enhance the mythic or magical quality of the instrument.

So what shall we take from this? Well, we can't say anything for certain but I like the idea of Tammuzi’s/Dumuzi’s music changing colors as the seasons shift. Blue and red, cool and warm, living and dead, circling and harmonizing every year as the earth spins year after year.

July 29, 2015

Athena and Hermes Musical Invention

Athena and Hermes. Aulos and lyre. Pipes and strings. And the much neglected trumpet and shepherd's pipe. These are Gods of innovation, new uses and thoughts. These are also the Gods who gave away their creations without hesitation. To pay for a theft or because of a glance in the mirror, they tossed their instruments aside for others to play. They could always make more.

Hermes’s story is always good for a laugh so let’s begin there. Three days after he was born, Hermes had already gotten bored with behaving himself. So off he went to his brother’s pastures and stole Apollo’s cows. He cooked them up and settled down to some inventing. He caught and killed a tortoise and used it’s shell and the guts of the sun God’s cows to build the first lyre in the world (well, so he said.) When Apollo finally found the little thief, the chords that poured out of the lyre stopped him in his tracks. Singing with the Muses and playing reed pipes suddenly seemed like ancient history compared to the thought of playing this new instrument. And Hermes, clever little trickster that he is, offered not only to give Apollo the lyre but to teach him how to play it. In exchange for the cows that he had already stolen.
After Apollo left to write up he’s newly created rules of harmony, Hermes skipped off and gathered reeds to build a syrinx (though some say he stole that instrument from Pan and who’s to say which one of these two is more trustworthy) and continued to fill his after dinner hours with new music.
Once, Zeus asked Hermes for help getting past Argos, the hundred eyed monster who never slept. Hermes took his syrinx and played lullabies to Argos until all of his eyes finally closed. Some say that Apollo traded his golden staff and lessons in prophecy for Hermes’ shepherd's pipe.

Athena’s music by contrast seems to be tied to sorrow and pain. She had given Perseus the tools he needed to kill Medusa of course but when Medusa died, her sisters wept. And keened. And sang. Athena, the war Goddess, promptly dropped her spear and began shaping a pair of reeds into a double-reed instrument, the aulos. Athena could use this hollow tube to transform all the sorrow and grief of the world into laments and dirges that broke and healed the hearts that heard them. (Many people translate aulos as flute which is why so many sources say Athena invented the flute. As a Goddess of wisdom, she herself would be the first to point out how wrong that is.)
And then, as suddenly as she started, Athena stopped playing. Some say she didn’t like how she looked in the mirror, others that Hermes made fun of how her cheeks puffed out. But maybe she knew others would need some way to release their deepest, musical voice and that is why she dropped her reed pipes to the ground. But even after she stopped playing, the Goddess’s breath still lived in the aulos. They hummed in the forest until a satyr named Marsyas found them and brought their melodies back to the world.
She guarded and supported the musicians of Olympus, the Muses. She caught and tamed Pegasus, the winged horse child of Medusa, and gave him to the Muses for their pleasure and delight.
She was called Athena Salpinx (war trumpet) in Argos and she is credited with inventing all forms of art that require time and study.

These two Gods are the inventors of their pantheon. Each new object they create draws gasps of amazement and becomes sacred in an eye blink. But these two beings barely seem to notice how precious their inventions are. They hand their creations off to others without a second thought, knowing that the most valuable gift they are giving us is the ability to imagine new ways to use the objects they leave scattered around us.

June 21, 2015

Lady of the Pipes

Ianuaria, a Celtic/Gaulish Goddess. The information about her is extremely limited but intriguing. At a healing shrine in Beire-le-Chatal, France, she was pictured as a young girl with curly hair, wearing a pleated coat and playing the panpipes. The site also had images of Apollo, bulls and doves. No one knows if she was associated with music, healing or birds and bulls outside of this site or not. Her name is related to Janus the Roman God of beginnings, doorways, gates, the new year and January. Jana (or Iana) Luna, a moon Goddess, is Janus’s consort and the only other female version of the name Janus (as far as I know).

Music goes back to our beginnings as various finds of 40,000 year old flutes show. Music and healing are often paired and music was sometimes used as a form of healing. Many of the Gaulish deities mixed and matched roles, attributes and even names with other cultures. The ancient Celts traveled so far they couldn’t help but run into other Gods and see similarities to their own. Meanwhile, the Romans were quite prone to creating Roman names for local deities and pairing them up with a Roman God, just to make everything seem Roman to them. All this makes it quite likely that there was a local deity connected to healing or music or both who was simply renamed.

Ianuaria’s roots are long gone but close your eyes and listen for the sound of flute music drifting over the hills on a chilly day and you just might catch glimpse of where she went.

Adkins, Lesley and Roy A. Adkins. Dictionary of Roman Religion.
Theoi, Roman Myth Index:

April 30, 2015

Daily Musings

A while back, I decided to work on memorizing more music. I've always kind of slacked in that department (Classical flute training allows this) and I've also always wished I didn't. So I've started keeping a musical journal where I record things I'm trying to play by memory along with some of the daily improvisations I create. Not sure where this will take me but I intend to share bits and pieces as I go.

Improv based on O'Carolan's "Farewell to Music"

"Carolan's Dream"

I'm mixing up the "simpler" folk tunes (some of which aren't that simple!) with Telemann and Troubadour music. The idea is that there will be some songs I learn more easily (which will hopefully encourage me) while I'm struggling with the longer pieces. In time, I hope to share a wider variety of tunes.

March 6, 2015

Flautist, Flutist, Fluter or Flute Player

Nearly everyone who plays flute will, at some point, be asked "What is the correct term for a flute player, Flutist or Flautist?" The answer is; either one. Yes really. Flutist is the older English word with the Oxford dictionary dating it to 1603. Flautist is a much more recent term in spite of the persistent rumor to the contrary. Nathanial Hawthorne seems to have been the first writer to use Flautist ("The flautist poured his breath in quick puffs of jollity" from The Marble Faun) in 1860. Hawthorne may have been trying to sound European (a popular fad in his day) by inventing a word based on the Italian flauto (from old Occitan flaut) to get the word Flautist. But older English writers (like Chaucer) use floute/floutour, flowte/flowtour and my favorite, floyte/floytynge (playing the flute). These all developed into flute and Flutist in English. Dictionaries currently list both Flutist and Flautist as correct terms for flute players.

Many people think Flutist is more common in the USA but in my experience, both get used fairly evenly. Common musicians' gossip says that Flautist is more common in England (or Europe) but again, that doesn't seem to be true in practice. Some people feel Flautist is stuffy or even somewhat insulting; they claim its too similar to "flaunting" or "flouting" in spite of not being based on either word. On the other side of the debate, some people feel Flutist is an Americanization or less technically correct; both ideas are also completely untrue. It strikes me that the objections to both words are more based on emotional reactions to (and personal associations with) the words themselves rather than on dictionary meanings of the words or their true history.

The reality is words change over time and usage shifts back and forth for mysterious reasons (take a linguistics class if you want to really hurt your head with this phenomenon.) The great Flutist vs. Flautist debate has been going on almost since the word Flautist was tossed into English and it hasn't changed much in all that time. I prefer to skip the whole issue and say "I am a Flute Player" or "I play the Flute". But I answer to Flutist, Flautist and even Fluter without complaint or regret.
Just make sure you know me before you call me a Flutter brain.

February 12, 2015

Ephemeral Life

Music is ephemeral. It is never the same twice. Even listening to a recording is never quite the same because the listener brings a different awareness each time they listen. They can’t help it. This is what makes music so tricky to explain and so wonderful to experience.
Many Classical musicians focus on learning to play the notes they see with as much accuracy as possible. The goal becomes to play the piece exactly as written every time. This is a good skill to have, never think otherwise, but there is more to music than that. Music is not the written notation but the moment of playing or performing including all the mistakes or even deliberate changes to what we see on the page. Music is the act of creating sound and listening to it. Improvisation is part of this and always has been. Even when improvisation isn't taught, performers end up making little tiny changes every time they play (there is no way not to). Perhaps instead of striving for note-by-note repetition, we should spend time trying to understand WHY these changes felt good or bad, what in the moment caused the music to transform and how we can make these different "interpretations" work for performers and audiences. This is the beginning of improvisation and part of what makes music an experience that is treasured.

A Couple of Examples
The Medieval troubadours are well known for setting their poetry to music but their music was not “complete” as we would understand it; they rarely included any rhythms and even wrote multiple melodies for the same poem. In other words, they improvised and used written music as a chance to expand their possible musical ideas instead of writing out a perfect version of the music. They adapted the music to their instruments and voices, they changed tones to fit the mood of the moment and treated the music like the living creature it is. There are a large number of period performers who carefully use only musical ideas from the age of the troubadours, going so far as to exclude all modern instruments and most period wind instruments since they weren’t “commonly used” at the time. Their goal is to recreate the troubadour sound as exactly as they can. This is wonderful and shows us a whole different kind of music than we are used to but I can not help feeling that the spirit of this music is in some ways being ignored. This was music that was meant to change, to adapt. If a performer didn’t play the instrument a composer had in mind, they still played the music even if they had to change the melody to do so. If only certain keys or modes worked for a specific instrument or voice, the performer could even CHANGE the scale of the piece and play the piece with different harmonies. If the audience wanted a different mood than the original piece, the music could be changed. A lament could become a dance in next to no time.
Baroque music incorporated improvisation into opera and bass lines as a matter of course. But the melody instruments were expected to change their more completely written lines too. A straight performance was often considered dull and not worth the audience's time. Today, students often spend hours researching how musicians might have improvised a piece in that day and age. But why stop there? Why limit ourselves to imitating someone else’s improvisation? Don’t mistake me, imitating is a great way to learn but then we can add our own ideas. Radical, I know, because this may well result in older pieces being made modern. But why is that always seen as a bad thing? We are modern musicians and we bring that sound with us. As beautiful as I find the Baroque style, I see no reason to rigidly make everyone follow it in every performance.

I admit, creating new music can be frightening. Some changes don’t work and some improvisations fall flat. It takes time and practice to get reliably good at improvising. But why should that stop us? We spend hours, even years, learning to reliably recreate written music after all. There is no reason to assume improvising will just come naturally without any effort. But the seed of improvisation is there, in anyone who has played one note and then another without any direction from someone else.
Improvisation and written music are not exclusive to each other and I love playing written music just as much as improvising. I find it beautiful and inspiring to play and hear music others were trying to share. But I know that I will never create a carbon-copy performance of any piece and I wouldn't want to even if I could. New sounds, new ideas and new music leap out of performances of old music. Some are sweetly similar to the sounds that created them, some are radically different. The musical possibilities and knowledge that this music will never be exactly the same again is what makes the experience so rewarding.
We are, after all, as ephemeral as the music we love.