The goals are lofty, the applications very much of this earth. And while the orchestration concepts presented as a whole are quite complex, broken down to their basic components of touch, they are not difficult to grasp and obtain. Different from traditional music theory, it is based on both the underlying large poles of energy and the surface energy – it’s musical analysis more for performers than theorists, and is relatively easy to learn. A system seeking to understand the energy at play, it simplifies the musical page to its most essential notes and gestures, allowing the rest to fall naturally into place. The present volume is not a philosophical Buddhist tract, but rather essentially a simple treatise on Piano technique – viewed as an art of orchestrating at the keyboard with all the possible colors of the Piano – and a guide to learning how to phrase according to a system of musical analysis based on balancing positive and negative energy. I think of Piano as a modern Zen Art-form, and from long before I’d ever even heard the word Zen, my approach to Piano was imbued with its principles. Twelve years later, I set out to write Zen and the Art of Piano and a companion work, Zen and the Art of Music. Broadway was arrested by Japanese Peach Blossoms. Twenty years old and a new-comer to Manhattan’s daunting sky-scraped landscape and dizzying frenetic pace, I happened upon Zen in the Art of Archery. The forest, the mountain follow their ancient ways, Sitting on this frosty seat, no further dream of fame. (with the moon emerged, my mind is motionless).
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