Can musical terms teach anything beyond their basic definitions? I think so, if one looks deep enough. With a nod to Jack Coleman’s book Crescendos and Diminuendos (Baker Press), I submit the following interpretations.
Agitato – Agitated, excited, restless, hurried.
In life we generally see agitation as something to be avoided, but in music, agitato is important for the contrast it provides. Despite its intensity, music of this character often resolves into a calmer state. While agitation in real life is often unpleasant, the sooner we recognize it as a contrasting, yet integral part of our life, not an intrusion, the sooner we can recover to a calmer state of mind.
Andante – At a walking tempo. Moderately slow but flowing.
There is nothing like a nice walk; I find it much more mentally beneficial than a run. When running, I find myself thinking about how tired I am or speculating about when the whole experience is going to be over. A walking tempo affords me the opportunity to think and reflect. Sometimes I even give my brain a rest and don’t think at all.
Coda – A closing passage added to the form of a composition at the conclusion.
There is a common saying in educational circles that educators should “teach with the end in mind.” That is, look at the result you want and structure everything to attain that result. It sounds obvious, but we have all been part of an aimless, wandering class or organization with no clear goals or objectives. The greatest of musical compositions have codas that are not simply a way to “get it over with” but are worthy endings to everything that has preceded it, a final reinforcement. We should structure teaching and programs the same way.
On a grander scale, band directing is not an easy career under the best of circumstances, but one way to prevent burnout is to establish a pace you can live with for a long career; set a pace with the end in mind.
Con espressione – With expression and sensitivity.
Notes, rhythms, intonation, tempo, articulation, precision, and basic dynamics are all important musical elements, but a dogged pursuit of them can easily get in the way of reading between the notes and drawing real meaning from a piece of music.
Paperwork, attendance, budgeting, scheduling, meetings, score study, and stress can combine to damage our ability to relate with students sensitively. I hear so many lame excuses that I become jaded and find it hard to be as sympathetic as I should. When at my worst, my first thought is if he will miss the game as opposed to a concern for his health or circumstances. Pressed from every side, we should not forget that we are dealing with students with real lives and real problems that can make music the last thing they are concerned about at a particular moment.
Da Capo – From the head or beginning.
A da capo gives a performer the chance to try something again, to get it better the second time. Sometimes in botched relationships we spend too much time trying to dig ourselves out of a mess, using patchwork solutions that only make matters worse. It is usually best to back up, apologize without excuse or qualification, and get it right the second time.
Fermata – A prolonging of the measure value of a note or rest.
Many times I listen to players or ensembles that do not hold fermatas long enough. It rarely has anything to do with musical taste or preference. There seems to be a lack of poise or patience on the part of the performer, or maybe the conductor lacks trust in the ensemble and believes the longer he holds the fermata, the more something can go awry.
In life we are often in too big a hurry as well. We rush through important moments without savoring them. There are no fermatas to say stop and look at this but the moments are there just the same. We have to add our own fermatas, hold them, enjoy the moments, and milk things for all they are worth.
Leggiero – Lightly. Playfully.
Have you ever been to a concert where all the music was dark, heavy, and full of gravitas? Imagine rehearsal after rehearsal of the same. It is hard to stay awake much less pay attention. It’s important to lighten up and exhibit playfulness from time to time. Every band hits a funk at some point during the year and needs to recharge. Sometimes the best option is to put your collective noses to the grindstone but at other times leggiero may be a better option. Sometimes less is more.
Poco a Poco – Little by little.
It takes musical discipline to perform a tempo or dynamic change poco a poco. Young performers have a tendency to slam on the musical brakes or jam the musical gas pedal to the floor when encountering a gradual change in tempo. Likewise, crescendos climax too suddenly, and diminuendos fade too early. The same is sometimes true of directors in the process of building a program. Set gradual, realistically attainable goals and build a program little by little; expand from each success, however small.
Segue – Proceed to the following movement without break.
The first time I saw this term was in high school as a trumpet player in the pit for the musical Guys and Dolls. If there is any term that describes band directing it is segue. As soon as we finish one thing, it is time to move on to another without break. However, there is another term I learned playing in the musical – tacet. Sometimes it is important just to sit things out.
Semplice – In a simple, unaffected manner.
Unexpected problems often seem much larger and complicated than they really are. Under stress, our minds become tense and cluttered, and focus on the negative. One solution is to think simple – simple thinking means clear thinking. Another solution is to leave it alone for a while to let the subconscious mind work on it. You should also seek advice. I once lost a bass drummer the day before a marching contest. I was flustered so I called my dad. Unencumbered by stress, he suggested a relatively easy solution – to use my drum major for the percussion feature; it worked.
Subito – Suddenly, immediately, unexpectedly.
Never take anything for granted. Life can change very suddenly – subito. Expect the unexcpected.
Vivace – Lively, brisk, animated, energetic, with vitality.
I know my band has done its job at a contest if a judge comments that we played with vitality and energy. I tell students that despite our best efforts we may not play a perfect performance, but there is no excuse for a dry, milquetoast rendition of the music.
