{"id":15972,"date":"2016-10-21T10:00:00","date_gmt":"2016-10-21T17:00:00","guid":{"rendered":"http:\/\/classicalguitarshed.foureyes.com\/?p=15972"},"modified":"2025-09-25T05:55:03","modified_gmt":"2025-09-25T12:55:03","slug":"musical-interpretation","status":"publish","type":"post","link":"https:\/\/classicalguitarshed.com\/musical-interpretation\/","title":{"rendered":"How Much Liberty Should We Take with Musical Interpretation?"},"content":{"rendered":"<p>When you play a piece of music, how much should you let your own personality come through? Or should you play only what\u2019s on the sheet music? Is one answer always right?<\/p>\n<p>You\u2019ll find people in the \u201cmusic world\u201d are often quite polarized on this subject. Some academics consider any little swell or fade that\u2019s not in the score (jargon alert: \u201cscore\u201d = sheet music) to be an absolute abomination.<\/p>\n<p>On the other end of the spectrum, you may encounter players who learn the notes of a piece, then proceed to play it however they \u201cfeel\u201d it at the time. They may disregard the musical period, style, or intent of the composer. (While this may be interesting, is it still the same piece?)<\/p>\n<p>You\u2019ll also find players who unwittingly tint everything they play with the their primary \u201csound\u201d. For example, I\u2019ve heard a fine Brazilian guitarist manage to unintentionally make anything he played (such as Bach) sound Brazilian.<\/p>\n<p class=\"centerc\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/uAsW2LR02XQ?rel=0&amp;showinfo=0&amp;autohide=1\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2 id=\"composervs.performer\" style=\"text-align: center;\">Composer vs. Performer<\/h2>\n<p>To become a great composer takes thousands of hours of practice. Not practice playing, but practice composing.<\/p>\n<p>And with all this composition practice, when does one practice their instrument? Eventually, one comes to the fore, and the other gets less attention. \u00a0(As a guitar example, Leo Brouwer started as a player, but transitioned to primarily a composer as time passed.)<\/p>\n<p>Of course, there are the great anomalies of history &#8211; world-class performers who subsequently dedicated themselves to composing. These include the great pianist\/composers Franz Liszt, Sergei Rachmaninov, Frederic Chopin, W.A.Mozart, and others.<\/p>\n<p>But the great majority of the time, one is either a composer or a performer. Not both. Not at the highest levels anyway.<\/p>\n<p>If you consider the top performers of recent history (Yo Yo Ma, Itzhak Perlman, Arthur Rubinstein, Vlad Horowitz, Joshua Bell, etc), they\u2019ve dedicated most of their time to performing, and compose only minimally.<\/p>\n<p>And the converse is true for composers: they put their best energy and attention into composing, not performing.<\/p>\n<p><strong>Note:<\/strong> Sure, you can find exceptions to the rule (such as Duke Ellington or Philip Glass; and Andrew York, Marco Pereira or Roland Dyens in the guitar world), but these only serve to prove the rule. And most of these still weight their time towards one or the other.<\/p>\n<h2 id=\"theroleanddutiesofthecomposer\" style=\"text-align: center;\">The Role and Duties of the Composer<\/h2>\n<p>The basic role and duty of a composer is to construct and deliver a piece of music that succeeds in its aim.<\/p>\n<p>The composer\u2019s aim could be<\/p>\n<ul>\n<li>To give listeners an emotional experience (I like these the best, personally)<\/li>\n<li>To explore a musical theory or perform a compositional exercise (early atonal 20th century music would be one example)<\/li>\n<li>To provide a venue for the development of some skill (etudes and pedagogical works)<\/li>\n<li>A combination of the above (Bach fugues could be considered all three)<\/li>\n<li>Or some other motivation.<\/li>\n<\/ul>\n<p>Whatever the aim, the goal of the composer is to fulfill it.<\/p>\n<p>And the composer also has responsibility to the performer. The music has to be playable (no impossible fingerings or stretches).<\/p>\n<h2 id=\"theroleanddutiesoftheperformer\" style=\"text-align: center;\">The Role and Duties of the Performer (Musical Interpretation)<\/h2>\n<p>As a performer, your (yes, you &#8211; even if you\u2019re still a beginner) your responsibility is to play the notes on the page, in the rhythm and style given, while communicating the composer\u2019s intent &#8211; musical and emotional &#8211; to the listener. (more on this later.)<\/p>\n<p>So a performer has to balance his\/her responsibility to the composer (what\u2019s on the page) with his\/her responsibility to the listener (a meaningful experience).<\/p>\n<p>If the only consideration were the notes on the page, a computer would be perfect performer. But a performer also needs to give listeners a human experience. Something meaningful, genuine and real.<\/p>\n<p>Listeners trust a performer to give them this experience. Listeners invest time and attention (and perhaps money) in search of a musical experience.<\/p>\n<p>This means the performer needs to (1) choose the right music to play for the specific situation, and (2) play it in such a way as to give some unique (and hopefully\u00a0entertaining and meaningful) experience.<\/p>\n<h2 id=\"apartnershipisborn\" style=\"text-align: center;\">A Partnership is Born<\/h2>\n<p>To have a beautiful piece played beautifully requires both a good composition and a good performer.<\/p>\n<p>Give the best composition to an amateur musician, and the best results will be but amateur (however enjoyable for the musician). Likewise, there is only so much a great performer can do with a weak composition.<\/p>\n<p>The key to a stunning performance of a great work is for the music and the performer to work together to effectively communicate an emotional idea.<\/p>\n<p>This takes a solid composition as well as a performer who can <a href=\"https:\/\/www.classicalguitarshed.com\/strong-weak-beats-music-guitar\/\" target=\"_blank\" rel=\"noopener noreferrer\">lead an audience<\/a> to feel the desired emotion(s).<\/p>\n<p>But is one half of this partnership more important than the other? And when there\u2019s a disagreement, who should prevail?<\/p>\n<h2 id=\"communicationistheresponseyouget.or...thecustomerisalwaysright\" style=\"text-align: center;\">Communication is the Response You Get. Or\u2026 The Customer is Always Right<\/h2>\n<p>Communication is the response you get. It doesn\u2019t matter what you say. What matters is what is heard.<\/p>\n<p><strong>Question:<\/strong> As a performer, if I play you a gentle, peaceful\u00a0piece of music but do so with a pained and gruesome expression, will you have the experience the composer intended?<br \/>\n<strong>Answer:<\/strong> Not likely. \u00a0Not if you can see me, at any rate.<\/p>\n<p><strong>Question:<\/strong> As a performer, if I surprise\u00a0you with a 20-minute piece of music that\u2019s dissonant (ugly-sounding, more or less) and edgy, but don\u2019t give you any warning or framework in which to understand the music, have I respected your time and attention?<br \/>\n<strong>Answer:<\/strong> Not so much.<\/p>\n<blockquote><p>It doesn\u2019t matter what you say. \u00a0It matters what&#8217;s heard.<\/p><\/blockquote>\n<p><strong>Question:<\/strong> As a performer, if I play a piece of music exactly as it\u2019s written on the page, but without personally understanding and demonstrating the musical and emotional content of the piece, have I played well?<br \/>\n<strong>Answer:<\/strong> Not on your life. (Even if you hold a prestigious teaching position or a full concert docket. If it\u2019s bland, it\u2019s just bland.)<\/p>\n<p>The biggest factor upon which we can base success is the experience of the audience\/listener. Both the composer and performer are foremost in service to the listener. (Assuming we\u2019re talking about professional performers playing concert\/recital repertoire. Informal sharing, student recitals and academic brain-fests are a different matter. \u00a0But still&#8230;)<\/p>\n<p>The performer provides the gateway between the composer and the listener. \u00a0So if the audience gets lost, bored, or disinterested, it&#8217;s 100% the performers fault, not the composer&#8217;s, and certainly not the audience&#8217;s.<\/p>\n<blockquote><p>If the audience gets lost, bored, or disinterested, it&#8217;s 100% the performers fault, not the composer&#8217;s, and certainly not the audience&#8217;s.<\/p><\/blockquote>\n<h2 id=\"staytruetotheintentofthecomposer\" style=\"text-align: center;\">Stay True to the Intent of the Composer<\/h2>\n<p>As a performer you may be better able to <a href=\"https:\/\/www.classicalguitarshed.com\/longline\/\" target=\"_blank\" rel=\"noopener noreferrer\">communicate musical ideas<\/a> than the composer. If this is the case, you\u2019ll be tempted to change dynamics (swells and fades), <a href=\"https:\/\/www.classicalguitarshed.com\/rubato-video\/\" target=\"_blank\" rel=\"noopener noreferrer\">rubato<\/a> (slowing down or speeding up), or <a href=\"https:\/\/www.classicalguitarshed.com\/classical-guitar-speed-bursts\/\" target=\"_blank\" rel=\"noopener noreferrer\">tempo<\/a> (speed).<\/p>\n<p>For example, cellist Yo Yo Ma is better equipped than virtually any composer on the planet to play a cello part beautifully. He has the experience and abilities to take what the composer has written, and play it more beautifully than even the composer could have imagined. Sure, he plays what\u2019s on the page, but brings his artistry to it as well.<\/p>\n<p><strong>This is important:<\/strong> \u00a0If you make changes, it must be to better communicate the musical intent of the composer. If you disagree with the composer\u2019s sentiment, find different music to play. But if you can make the composer\u2019s idea more understandable to the listener, then your changes are in service to the music.<\/p>\n<blockquote><p>If you change anything, it must be to better communicate the composer&#8217;s intent.<\/p><\/blockquote>\n<p><strong>I Like Big Buts:<\/strong> First fully master what&#8217;s on the page, and <strong>understand why<\/strong> the composer made those choices. Until then, you\u2019re not equipped or qualified to make any changes.<\/p>\n<h2 id=\"howtoprepareyourselftohonorthecomposerandpleaseyourlisteners\" style=\"text-align: center;\">How to Prepare Yourself to Honor the Composer and Please Your Listeners<\/h2>\n<p>To put yourself in the best position to do justice to the music and play so that it sounds good to listeners, you have to build a <a href=\"https:\/\/www.classicalguitarshed.com\/learn-classical-guitar\" target=\"_blank\" rel=\"noopener noreferrer\">collection of skills<\/a>.<\/p>\n<p>In your technical practice (scales, patterns, exercises, etc.), focus on playing in perfect rhythm. Connect notes seamlessly. Master the art of smoothly getting louder and softer.<\/p>\n<p>When you ingrain the habits of listening to every note, and how each note connects to the next, you will automatically be more able to notice the small details and play them more beautifully.<\/p>\n<p>Also, learning the concept of the <a href=\"https:\/\/www.classicalguitarshed.com\/longline\/\" target=\"_blank\" rel=\"noopener\">long line<\/a> and some basic \u201crules\u201d of beautiful playing (such as not accenting the high note) will help.<\/p>\n<p>Lastly, listening to great players will expose you to examples of effective communication. Personally, I find the great pianists of the 20th century are experts at interpretation, as are the musicians named above. Sadly, I can\u2019t point to any one guitarist who exemplifies expressive playing as consistently as the great artists of other instruments. (\u201cWhy\u201d is a topic for another day.)<\/p>\n<h2 id=\"whathappensinthepracticeroomstaysinthepracticeroom\" style=\"text-align: center;\">What Happens in the Practice Room Stays in the Practice Room<\/h2>\n<p>It\u2019s generally frowned upon to make massive stylistic changes in performance. However, in the practice room it\u2019s great fun and can be very helpful.<\/p>\n<p>Practice is completely different than performance. The goals and considerations are completely different. So what you do in practice is not necessarily the same as what you do in performance.<\/p>\n<p>For instance, in practice you can:<\/p>\n<ul>\n<li>Play slow passages very fast.<\/li>\n<li>Play quiet passages loud.<\/li>\n<li>Change the feel (i.e. <a href=\"https:\/\/www.classicalguitarshed.com\/keep-music-exciting\/\" target=\"_blank\" rel=\"noopener noreferrer\">swing it<\/a>)<\/li>\n<li>Play passages that <a href=\"https:\/\/www.classicalguitarshed.com\/back-up-ritard\/\" target=\"_blank\" rel=\"noopener noreferrer\">slow down<\/a> in steady rhythm<\/li>\n<li>Add beats of space to give yourself extra time to prepare.<\/li>\n<\/ul>\n<h3>However, \u00a0some habits you\u2019ll want to keep consistent in both practice and performance:<\/h3>\n<ul>\n<li><strong>Always<\/strong> play with <a href=\"https:\/\/www.classicalguitarshed.com\/metronome\/\" target=\"_blank\" rel=\"noopener noreferrer\">steady rhythm<\/a>.<\/li>\n<li><strong>Always<\/strong> keep a focused attention.<\/li>\n<li><strong>Always<\/strong> know why you&#8217;re doing what you\u2019re doing.<\/li>\n<\/ul>\n<h2 id=\"conclusion\" style=\"text-align: center;\">Conclusion<\/h2>\n<ol>\n<li>Always start with what is written and master that first (especially if you don\u2019t understand it).<\/li>\n<li>Only make musical changes to a piece to better communicate the composer\u2019s intent.<\/li>\n<li>Perpetually work to build skills that allow you to play fluidly and in control.<\/li>\n<li>Always feel free to play creatively with your pieces in practice, but when you perform them, honor the composer and the core musical ideas.<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>When you play a piece of music, how much should you let your own personality come through? Or should you play only what\u2019s on the sheet music? Is one answer always right? You\u2019ll find people in the \u201cmusic world\u201d are often quite polarized on this subject. Some academics consider any little swell or fade that\u2019s not in the score (jargon &#8230; <\/p>\n<div><a href=\"https:\/\/classicalguitarshed.com\/musical-interpretation\/\" class=\"more-link\">Read More<\/a><\/div>\n","protected":false},"author":1,"featured_media":15977,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61],"tags":[354,341],"class_list":["post-15972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","tag-phrasing-concepts","tag-phrasing-techniques"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v25.8) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>How Much Liberty To Take With Musical Interpretation<\/title>\n<meta name=\"description\" content=\"When playing a guitar piece, how do you make musical choices? How do you choose a musical interpretation? 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