This is what me and my clarinet student worked on in today’s class. I told her last week when I gave her the piece, that I gave it to her because it was too easy, and that we would be working a lot on musicality. Who knew that it would take an hour to work out an outline of how the first sixteen measures could possibly sound!
I mixed formal analysis, harmonic analysis, my knowledge of the composers composotion style and signature, and a lot of my own imagination, so we could build a clear image of how to interpret the beginning of this piece, which, in itself, looks quite boring, always almost the same notes. The “almost” in this case the key to finding a good interpretation. Why is it almost the same? What are the small differences telling us?
I think this is a really fun and efficient way of teaching. I really enjoyed myself teaching today. But I guess my student mostly thinks I’m crazy! I wish I would have more of these attacks of genius. Maybe this means I’m really becoming one with teaching. Or that I’m finally becoming a real musician myself. Or both; maybe one needs the other.