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I’m guessing you haven’t thought much about this, but one of the things we musicians have to put up with is calluses. Not feeling sympathetic? But what if…

I’m guessing you haven’t thought much about this, but one of the things we musicians have to put up with is calluses. Not feeling sympathetic? But what if the calluses are peeling, or bleeding, or have bruises under or around them, or make you look like you’ve been attacked by a vampire?

I’m guessing you haven’t thought much about this, but one of the things we musicians have to put up with is calluses. Not feeling sympathetic? But what if the calluses are peeling, or bleeding, or have bruises under or around them, or make you look like you’ve been attacked by a vampire?

The other day, a friend asked me if orchestral musicians really look at the conductor when they’re playing. It’s an interesting question, because after all, how can you look at your music and play all the right notes if you’re also looking up at the person waving the baton?

In music, the terms “high” and “low,” as in “high notes” and “low notes,” “high pitched” and “low pitched,” are metaphors. High and low may be used to…

Good composers write coherent pieces, not collections of interesting materials.

If there are such things as “good pieces” or “great pieces,” then there must also be such things as bad pieces.

If there are such things as “good pieces” or “great pieces,” then there must also be such things as bad pieces.

If there are such things as “good pieces” or “great pieces,” then there must also be such things as bad pieces.

Good composers write coherent pieces, not collections of interesting materials.