Climax in musicClimax in music

What is a climax in music? A climax is essentially the most intense and emotional part of a sentence. It is not necessarily the loudest or loudest tone, but it is the most emphatic in the cycle of a performance phrase or musical section. There is always a beginning, a climax and an end. The climax can occur at any point between the beginning and the end of the cycle, but it usually occurs in the middle.

To really get an idea of ​​what a climax cycle is, let’s take a few non-musical examples. Let’s laugh, for example. While someone is laughing, they reach a point where laughter is more emphasized, usually followed by some kind of shortness of breath (especially in the case of a deep laugh) and subside. The emphatic part is the climax. Another example would be to drink a glass of water. In the actual movement of the glass, which is changing from one point in space to another, when the bottom reaches the highest elevation level, it technically marks the climax of this cycle. A third example would be, say, a party or an event of some kind. It may take months to plan, but when the day comes and the ceremony takes place, this is the climax of this cycle.

When a musician plays several phrases in any piece of music, they reach several climaxes. In fact, it varies from artist to artist and is perhaps one of the most distinctive factors in a musician. Since music is not just a mechanical action and involves sense and feeling, including emotion, determining the climax and bringing it out is more of a human element than “just a mechanical element”. Therefore, it is an essential aspect for musical performances of any kind. Unfortunately, however, it is very commonly neglected, which results in “performances” mainly mechanical that do not convey any meaning to the listener, thus violating the very principle of music!

How, then, can a musician remedy or improve this? There are two moves that we can make that will help you to get a sense of that. They are not only theoretical, but involve real practical actions. Try it, whether you’re a musician or not. First, turn your hand so that the palm is facing up and close your fist. As you hear an execution phrase, gradually and slowly open your hand, extending it until you see the climax in that phrase, wherever you personally perceive the climax to be. Your hand should be fully open and you should see your palm when the climax happens. Then, gradually close your hand into a fist again as the cycle of that sentence ends after its climax. Repeat this action with the same sentence, indefinitely, until your movement is in sync with that climax cycle. Try doing it with other phrases too, until you feel like you can do it easily.

The other movement is called “source type”. To make this move, first get up. Take a sentence and, as you hear it, slowly and slowly raise your arms above your head, as if it were a fountain. Your arms should be extended towards the ceiling when you notice the climax. Then, release your arms freely, thus completing the incorporation of that phrase cycle. Again, repeat this action with the same phrase, indefinitely, until your movement is in sync with the climax of this piece. Try doing that with other phrases too.

By doing these two movements (especially the “source type”), you will really achieve a higher awareness of the climax and, if you are a musician, it will make a marked improvement in your own ability to play emotionally and technically, no matter what. level you are at. Please note that you will only fully understand this by MAKING these moves, not just hearing about them. This is very important. For example, someone can explain everything they want an apple to have for you, but if you’ve never eaten one, you’ll never truly understand the taste. Well, the same philosophy applies here. It is so important that someone really does this.

All of this is part of a philosophy known as “movement education” or “body in performance”, developed by Dr. Alexandra Pierce, Professor Emeritus at the University of Redlands, with whom I studied. Movement Education incorporates the various aspects of music (such as phrasing) in a physical and kinetic form away from the instrument. The result is a much more significant performance, as the music becomes much more sensational, using all of existence and not just one sense, hearing.

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