Let's Get Moody! Tips for Incorporating Musical Expression Into Your Performance

Like any other language, music’s true nature lies in communication. To give music greater meaning, the performer must ask, “what message is the composer trying to convey to their listeners?” This type of detective work can feel so arbitrary at times but if the performer knows what to look for in the piece, they can be more deliberate about their phrase making decisions. Every phrase should be premeditated thoughtfully, and planned precisely prior to the performance. Below are some tips to help quantify the phrasing process.

1. Texture Changes

Look for changes in texture in your piece. A change in texture usually defines where a phrase begins and ends or if it is an elision.

• Cadence

• Key change

• Meter change

• Rhythmic cadence (i.e. diminution)

• Dynamic change

• Articulation changes

• Register changes
  

2. Analyze the Phrase Harmonically - How Does it Function?

Dominant = tension/conflict/chromatic

• Bring out the dramatic non-chord tones

Tonic = release/home/resolution

• Look for cadences
  

3. Bring the phrase to the “note of change” (usually crescendo)

• Crescendo through repeated notes and held notes

• Is there a sequence/pattern? Where does the sequence or pattern change? Build the phrase through the sequence bringing the audience to the change in sequence.
  

4. Identify the Main Characters

Hint: there are usually at least two characters/themes in pieces written in the common practice period.

Use descriptive words to identify them:

• Dolce

• Playful

• Assertive

• Dramatic

• Angry/Fiery
  

Download Levana's full powerpoint with musical examples to share with your students!

About the Author

Seattle born clarinetist, Levana Cohen is an avid performer and music educator. Her performances have taken her to some of the most prestigious concert halls including, Carnegie Hall, Jazz at Lincoln Center's Rose hall, the Koussevitzky Music Shed and Ozawa hall of Tanglewood, Benaroya Hall, Symphony Space, The DiMenna Center, Flushing Town Hall and the 92ndY sharing the stage and performing with such artists as Frank Morelli, William Purvis, Steven Taylor, Shlomo Mintz and the Emerson String Quartet to name a few. Levana's life as a NY based freelance musician has made her into an extremely versatile musician performing and teaching in a multitude of different genres. In performance, these genres include the ballet, pit orchestra, opera, chamber music (both in the concert hall and for house parties), studio musician (recording for TV and radio), and the occasional concerto. Currently, Levana perform as the Principal Clarinetist for the Astoria Symphony Orchestra and appears at universities nation-wide leading masterclasses, clinics and performing recitals and concertos.

As a committed and devoted music educator, Dr. Cohen enjoys teaching students of all ages. At this time, she teaches Clarinet and Woodwind Methods at LIU Post, is the Clarinet Instructor at Suffolk County Community College, and operates her own private teaching studio in Port Washington NY. Apart from helping her students find their true, unique voice on their instrument, one of her highest priorities at the college level is to prepare her students for successful careers in music. Dr. Cohen also enjoys her work as a clinician with the Vandoren Regional Artist program, Woodwind Specialist and coach with the Metropolitan Youth Orchestras of New York, as a chamber music coach for Stony Brook University, and as director of the Port Washington Clarinet Choir.

Levana holds both a Master of Music degree and a Doctorate of Musical Arts degree from Stony Brook University under the tutelage of Daniel Gilbert. She performs on Buffet Tosca clarinets and uses Vandoren mouthpiece, ligature and reed products.