Is This The Way To Andantino?

"If a composer could say what he had to say in words he would not bother trying to say it in music." Gustav Mahler (1860 - 1911)

Marks of Expression (leading on, for the last time – honest - from Spot The Difference )

Marks of expression, aka performance directions, are inserted when composers feel the need to reinforce with ordinary language, hints implicit within the musical code. In the main, these directions refer to speed, mood, style and changes therein. Often these save much time and ink. The direction "siempre staccato" (always detached) would save a quill and ink composer the labour of adding a dot above hundreds of notes. The increasing use of software may change all this as copy and paste functions remove the toil from such tasks.

The vocabulary of a subject reflects the dominant country at the time of the subject’s flowering. In the case of Western European, written music, this was Italy. Subsequent 19th century nationalistic sentiment led some composers to insist on the use of their own language and many French and German terms entered the vocabulary. British and American composers often use English. Nevertheless the vast majority of these terms are Italian and there are many who still refer to this area of study as Italian terms.

In addition to their expressive interest, performance directions represent the interface between music and European languages (also etymology). I feel it incumbent upon us (instructors) to encourage enthusiasm for this area, as curiosity about a foreign language always strengthens the students’ appreciation of, and confidence in, their own language.

In many cases, the original purpose of performance directions (pinpointing the exact mood required) appears to have become lost. Composers add words which are, at best, vague e.g. "humorously" or "tenderly." What do these terms really man, if the idea has not already emerged from the music? In one case, the direction "with a smile" appears. Now, there are smiles and smiles. Gandhi? Eric Morecambe? Hannibal Lecter?

I feel that this 5-day ramble has become a little shapeless and, in case there’s anybody out there, I shall attempt a short summary.

• Technique, rather than being something built into pupils, emerges from their own natural movement – all we need do is discourage the misapprehensions which bring about tension
• This will allow freedom of movement to enable freedom of expression
• Expression is not poured on top of the music by the pupils, but brought out of it through understanding and playing
• For a beginner, written music is a foreign language. Our task is to help the pupils decode the indications of volume - articulation - tempo and style requested by the composer. Hopefully, the music will be as alive when we play it as it seemed to the person sufficiently moved to write it down.

Next week I hope to return to more quotidian concerns with a short epistle entitled “What I Brought For My Play-piece.”