Sharon Skaryd
>
> Belonging to several musical groups and clubs, I've watched many audiences
> in most every situation and feel that in order to link to the audience you
> must talk to them. Sure there are times in multi-act or back-ground
>
> Sure you have to watch the balance, but it takes a talent to communicate
> easily. It's not a "cop-out". In many acts it's a part that is neglected.
>
(SNIP)
>
I'm glad both of you brought this up, I meant to mention it myself in my
earlier reply. Talking during a performance is NOT a cop-out. On the
contrary, it is a very important part of being a performer. It's the
skill I *really* wish I were stronger in (and if anyone, say Barra, has
suggestions, I'd welcome them).
Some examples for pondering:
Patrick Ball, who certainly doesn't need to hide behind something to pad
his harp playing, has made storytelling a part of his act (and recordings)
Me: When I sit and play without talking, people walk by, nod,
occasionally leave a little something in the hat, if it's out. If I talk,
they stay and listen longer, and usually tip. I can't say for certain,
but I'm pretty sure that I've very rarely had people leave a show when I'm
talking; they leave during the music (and I'm not playing really badly,
trust me).
Non-music: I had a friend who was an amazing juggler, one of the best
I've ever seen. He had trouble getting bookings IMHO because he just
couldn't "work" the audience. I've seen others who were only so-so, but
interact well. They make a decent living juggling.
Moral: Talk it up! (As long as you have something interesting to say.)
(and keep a story in reserve to tell while you're changing that string
that broke in the middle of the show)
(oh yes, I think it was Sue Richards who most recently pointed out, on her
"Hazel Grove" album, that playing a slow piece well is often more of a
challenge than playing a fast piece. I know it's been pointed out to me
several times.)
Kevin Kinney
kkinney@med.unc.edu