| What is a climax in music? A climax is essentially the | | | | slowly open your hand, extending it until you perceive |
| most intense and emotional part of a phrase. It is not | | | | the climax in that phrase, wherever you personally |
| necessarily the highest or the loudest tone, but it is the | | | | perceive the climax to be. Your hand should be entirely |
| most emphatic one in the cycle of a performance | | | | open and you should see your palm when the climax |
| phrase or a musical section. There is always a | | | | happens. Then gradually close your hand into a fist |
| beginning, a climax and an end. The climax can occur | | | | shape again while the cycle of that phrase ends after |
| at any point between the beginning and the end of the | | | | its climax. Repeat this action with that same phrase, |
| cycle, but usually occurs in the middle. | | | | over and over, until your movement is in sync with that |
| To really get a grasp of what a climax cycle is, let's | | | | climax cycle. Try this with other phrases as well until |
| take some nonmusical examples. Let's take laughter, | | | | you feel you can do this easily. |
| for instance. While one is laughing, they hit a point | | | | The other movement is called "fountain like". To do this |
| where the laughter is most emphasized, usually | | | | movement, first stand up. Take one phrase and, while |
| followed by some sort of breathlessness (especially in | | | | listening to it, gradually and slowly lift your arms above |
| the case of deep laughter) and winds down. The | | | | your head, much like a fountain. Your arms should be |
| emphatic part is the climax. Another example would be | | | | extended towards the ceiling when you perceive the |
| drinking a glass of water. In the actual motion of the | | | | climax. Then drop your arms loosely, thus concluding |
| glass, which is changing from one point in space to | | | | the embodiment of that cycle of the phrase. Again, |
| another, when the bottom reaches the highest level of | | | | repeat this action with that same phrase, over and |
| elevation, it technically marks the climax of that cycle. | | | | over, until your movement is in sync with the climax of |
| A third example would be, say, a party or an event of | | | | that piece. Try this with other phrases as well. |
| some sort. It may take months to plan but when the | | | | By doing these two movements (especially the |
| day comes and the ceremony happens, that is the | | | | "fountain like" one), you will actually reach a higher |
| climax of that cycle. | | | | awareness of the climax, and, if you are a musician, |
| As a musician plays several phrases in any given | | | | this will make a marked improvement in your own |
| piece of music, they hit several climaxes. This actually | | | | ability to perform emotionally as well as technically, no |
| varies from performer to performer and is perhaps | | | | matter what level you are. Please note, you will only |
| one of the most distinguishing factors in a musician. As | | | | fully comprehend this by actually DOING these |
| music is not just some mechanical action and involves | | | | movements, not just hearing about them. This is very |
| sense and feeling, including emotion, determining the | | | | crucial. For example, one can explain all they want |
| climax and bringing it out is a more of a human | | | | what an apple tastes like to you, but if you have never |
| element than "just a mechanical" element. Therefore, it | | | | actually eaten one, you will never truly understand the |
| is an essential aspect for musical performances of | | | | taste. Well, the same philosophy applies here. It is that |
| any kind. Unfortunately, however, it is all too commonly | | | | important for one to actually DO this. |
| neglected, which results in mostly mechanical | | | | This is all part of a philosophy known as "movement |
| "performances" which do not impart any meaning to | | | | education" or "body in performance", developed by Dr. |
| the listener, thus actually violating the very principle of | | | | Alexandra Pierce, Professor Emeritus, University of |
| music! | | | | Redlands, whom I studied under. Movement Education |
| How, then, can a musician remedy or improve this? | | | | embodies the several aspects of music (such as |
| There are two movements which one can do that will | | | | phrasing) in a physical, kinetic form away from the |
| help you gain a sense about this. They are not just | | | | instrument. The results are a much more meaningful |
| theoretical, but involve actual practical doingness. Try it | | | | performance, as music becomes much more |
| whether you are a musician or not. First, turn your hand | | | | sensational, using one's entire existence and not just |
| so that the palm is facing up and make a fist. While | | | | one sense, hearing.by Evelyn Simonian |
| listening to one performance phrase, gradually and | | | | © 2010. |