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All aspects of the academic/theoretical side of music, including harmony, counterpoint, elementary composition, history, harmonic analysis, aural training, sightreading - the lot! Please note: I'm neither a professional composer (so I can't help with composition beyond what's required for Grade 8 theory or A'level) nor a singing teacher (so I can't answer questions about vocal technique or extending your vocal range). And don't ask me about psychoacoustics or music psychology as I have no knowledge of, or interest in, either subject.
50 years as pianist (professional soloist and accompanist); 35 years as harpsichordist (professional soloist and continuist); 10 years as violinist and 6 years as bassoonist (youth orchestras/chamber groups); 37 years as piano teacher, coach in performance/interpretation (all ages, instruments and levels) and private tutor (mainly the old O'level, Grade VI+ ABRSM theory/practical musicianship, A'level and undergraduates).
I've been a member of the Musicians' Union in Britain since 1978.
I've written many programme notes and a few articles for an online magazine. During the '90s I was also a Music Assessor for London Arts and as such regularly wrote critiques of concerts given by recipients of Arts Council funding.
MA in European Cultural Policy & Administration (Warwick University, 1994)
B Mus with Honours (London University, 1977)
Postgraduate Diploma in Arts Administration (City University, 1982)
Licentiate of Royal Academy of Music in Piano Teaching (1976)
Licentiate of Royal Academy of Music in Harpsichord Teaching (1978)
Studied RAM Junior School (1966-74), then as full-time student (1974-78).
"Music creates order out of chaos: for rhythm imposes unanimity upon the divergent; melody imposes continuity upon the disjointed; and harmony imposes compatibility upon the incongruous." (Lord Menuhin)
My cousin in the US sent me some theory coursebooks and an AP test paper, and I hadn't appreciated how differently music theory is taught over there - not just terminology but a very different approach, especially when it comes to harmonic analysis. This explains many past misunderstandings I've had on this forum! I'm happy to answer questions from Americans but do remember I'm English.
| User | Date | K | C | T | P | Comments |
|---|---|---|---|---|---|---|
| Annette | 11/22/09 | 9 | 9 | 9 | 9 | Thank you Clare for your reply and ..... |
| Martin | 11/17/09 | 10 | 10 | 10 | 10 | Hi Clare, Thank you very much. I ..... |
| Annette | 11/14/09 | 9 | 9 | 9 | 9 | Thanks Clare, helpful as ever. It's much ..... |
| James | 11/10/09 | 10 | 10 | 7 | 10 | |
| Annette | 11/02/09 | 9 | 9 | 9 | 9 | Thanks for your reply, Clare. Helpful as ..... |
Hello Annette, and thanks for being patient. You've got most of these right. If you're setting words to music, read them aloud a couple of times. Forget that you're speaking poetry, read them as if
Hello Martin, I've never come across the term "octave creep", but I've listened to "Cherry Pink" on Youtube and you're talking about a glissando. The trumpet part starts with a second inversion arpeggio
Hello again Annette, Well, the good news is my foot's finally healed and I've now got to learn to walk again in support boots. After 9 months in a cast up to the knee my ankles and calf muscles are
Hello James, I had a similar query from Adam - for some reason his reply hasn't been published yet so I'll repeat part of it. Music is a language, and like a language it has rules - grammar and syntax
Hello Emily, and thanks for being patient. The counterpoint question is easy - if you've got one instrument/section playing the tune, have another instrument/section playing a second melody that goes
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