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I give you my music, my voice and what
is left of my soul as a present, absolutely for free. This is a tribute
to the noosphere, that I’ve never been on good terms with.
My ideas about teaching creation, singing techniques and developing an
individual manner of composing might turn out to be useful for someone.
I’ve always chosen students according to their charisma, passion for
music and personality. As a general rule, musical education, good taste
and even an ear for music weren’t among their achievements. Such
problems can be sorted out, believe me. What you can’t cope with is
hackwork, mechanical and stereotyped, aimed at nothing but fame and
fortune. To teach methods of analysing someone else’s
music, art, poetry is much easier than to develope student’s own skills
of synthesizing, form his creative values and cast off the
chains of social stereotypes. With many students we parted on our way.
Here are some theses for those who
would like to take my lessons.
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Timbre, sound, form are secondary.
It is the musical idea which is primary, - the essence to be
developed.
E.g.: Bach’s “Scherzo” can be played on various musical
instruments: trumpet, violin, organ, electric guitar etc. No matter
when and how it was performed – it’s always been “Scherzo” by Bach.
I doubt, whether numerous examples of rock-music, hip-hop, reggae
can be judged the same way, - because such music depends on timbre
and often lacks any musical idea.
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You should learn to distinguish
between a composer and a performer. Poor performance can
spoil good music and vice versa. On the whole, there
is a Trinity of
God the Father (a composer), God the Son
(a performer, who expiates sins and false steps with his own blood)
and the Holy Spirit (audience). If we miss out
even single component – we’ll get no music. Composers, don’t forget:
it’s the result, not the process, that
matters for the audience.
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Singing is an ennobled cry
(neither a whisper, nor a speech or wailing). Nobless means
pleasant timbre, vibrato, which frequency and amplitude are
controlled, beauty of individuality and, if possible, attractive
appearance of a singer. Voice timbre is a mirror of character.
One of the main points is
pride, that very feeling of equality to God,
which the Bible interprets as a mortal sin.
This equality is gained by the ability of creation.
No doubt, God is stronger. But any roaring drunk hefty bastard in
the street can be stronger than you, can kill or maim you. It’s not
the reason to lick his boots. Remember, actors aren’t
allowed to paradise because acting is a free-will
obsession.
Here is a story: meeting physicist Landau, director
Stanislavsky asked why birds fly. Landau began talking profusely
about aerodynamics and gravitation. Having listened to his speech,
Stanislavsky said: “It’s not because of that. A bird just breathes
in a lot of air and becomes Proud! And that’s why it flies!”
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It’s important not to get tired
when singing. The idea of “singing for the last time in my
life”
is unacceptable (it can be referred to rock music, too).
A student always needs his teacher as an experienced judge with an
ear for music, having good musical taste and a set of vocal and
technical medicines. There are no prescribtions (for medicine
is given without any prescribtion) because all people
are individualities, they are various and it’s great – otherwise art
will be similar to an army of a conveyor.
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Rock implies sincerity of the
highest degree, on the edge of hysterical soul striptease.
Rock has existed always and will exist forever, I hope. What’s
important about it is dynamic meditation. It requires you should
“switch off” both the feeling of reality and self-control, being at
the same time overwhelmed with emotions and highly sensitive. Much
less do I like a background music. For me, being an attribute of
dining in a restaurant, it causes salivation. I prefer the kind of
music which will certainly make you cut yourself when peeling
potatoes.
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Human health and energy aren’t a
target, but means of payment for something more important. I
can’t say I have an excess of energy and health, but I’m ready to
spare them now and in future and wish you could do the same. Don’t
be greedy – but don’t spend like there’s no tomorrow.
I designate my students to emanate from four lower chakras.
By the way, chakra emanation drains energy out of a singer (here,
chakras revolve counter-clockwise), that’s why it’s vital to learn
how to turn them into normal condition after emanation.
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The balance of simple and
complicated.
It’s not an issue of taste and culture, defined by Gorky as
“knowing measure”, rather an issue of thesaurus, of whether your
audience is mature enough to perceive your music. On the other hand,
there is also a lower level and a student should be aware of it. For
example, ellipsis (or quinta circle like in “Les feuilles mortes” by
V.Cosma) can be accepted under no circumstances. It’s a sheer shame
for a contemporary professional. At the same time, too complicated
pieces won’t be perceived by those who aren’t ready for them and
quite often such composition turns into music for composers only.
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A student should find his own
voice and understand what’s the purpose of his urge to get onto the
stage.
Having voice isn’t an excuse. What is
your talent about? What is your Magnum
Opus?
A teacher should help with this, too, not only with the
technique.
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It’s impossible to change a
student. A man changes himself. The best way of impacting is
to make him doubt by asking a proper question.
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As to sense of humour. There are
two possibilities: either you treat yourself seriously and let
others be ironic or it’s you who speaks ironically and others are
serious.
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