Getting the Whole Picture

Had a couple of interesting responses to yesterday’s newsletter, ‘To Record, or Not to Record.’ One of our subscribers wrote of Heifetz nit-picking his recordings. I’ve got a story about that one.

The other observed how recording oneself may be more valuable for the musical light it sheds, rather than exposing technical imperfections. That one jarred my memory about studies done on the way in which we process music, when listening..

First the story.

Heifetz was recording something or other way back when, and the producer requested he repeat one section several times, saying over the ‘talk-back’, ‘Sorry maestro, we just need that passage ONE more time.’

Finally, in frustration, Heifetz put down his violin, went into the booth and asked what was wrong. The producer, rather sheepishly said, ‘Well, Mr. Heifetz, you seem to have played a D natural instead of the indicated D sharp in this measure.’

‘Let me hear it’, Heifetz quipped.

The passage was played back to him, and indeed he had played the wrong note with each repetition.

‘Well,’ said Jascha, ‘I guess that’s the way I play it. Let’s move on.’

And the misplayed note can be heard until this day. Question is, does anybody KNOW where it is?

Now for the listening studies.

A researcher performed a series of tests in which subjects only heard a piece of music performed and then were able to hear and SEE the performers playing the music. Turns out their reactions to certain features in the music were very different. For instance, when a pause preceded a dramatic entrance in the music, the perceived effect was much greater when the participants could see the musicians prepare for it.

So if it is an improved musical impact you’re looking for, then perhaps you should use video or audio depending on what medium it will be viewed/heard.

And there is one more point I will make about recording. The way a violin sounds on recording is always going to be different from the way it will sound to a listener sitting in a hall. And this is without taking into account the ‘color’ added by the microphone itself.

OK, enough said. I DO acknowledge that there are things to be learned from listening and seeing on tape. I would certainly caution, however, that you do this when you are fresh, and then only sparingly.

All the best,

Clayton Haslop

P.S. If you want to get the real big picture on your playing, I suggest you grab one of the spots remaining to the Singing Hands Masterclass/Seminar.