Rich Coburn

piano and organ

How to see what the composer sees

It was astounding to me to consider the vast amount of information that was lost between recording and score. Then I realized that this much information could be missing from every score of every great master I’ve ever read. Trying to bring life to this score, when I played it myself, was like trying to animate a pale shadow of my original conception of the piece.

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Why I made friends with sixteenth notes

In the spirit of fast and fun progress, I want to talk about one of my favourite rhythms: a dotted eighth followed by a sixteenth. It may be a small and super common rhythm, but it’s actually an incredibly efficient tool for refining character. And because it’s so ubiquitous, you can apply what I’m talking about here to a ton of your repertoire.

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Bach was all about that bass

This is the first post in my series on my relationship and obligations to dead composers. In it, I look at what it might have been like to hear some old music when it was new music, and whether it can be as powerful today as it was then. Then I use science to disappoint you with the realization that no it can't; some things just sounded better 300 years ago. 

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Photography / Photographie:
Brent Calis