2. Tom Morris: Programming – A Primer

WHAT’S IN THIS VIDEO: To start – a basic structure of a program. Historically, the big symphony was in first half. Now flipped. Programs fail if you build program just around a big piece. There have to be unexpected things – keep audience on its toes. How you construct a progression for a program. Hundreds of way to create a sense of occasion – a journey that has unpredictability. Progression from one piece to next makes it creative. Bizarre programs can be fun. How do you make musical connections between pieces? Between ideas? Sequence of experiences is key.



  1. This is an eye opener to me. I am used to playing in orchestras where I thought the pieces on the program had very little to do with each other, minus summer or winter seasons. Now I realize that my former and current teacher are using the concert program not only to instruct us, but to instruct the audience as well. My current string teacher has organized a set of three pieces that were composed around the same 3 years Solace by Joplin, Jig from St. Paul Suite, and Golliwog’s Cakewalk by Debussy. Otherwise, most concerts I have played so far in college have one essential theme, whether they be works for children or based on children’s tales, for dance, based on nationality of the composers, etc.

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