Sound in Motion: A Performer's Guide to Greater Musical Expression

by David McGill

David McGill has assembled an exhaustive study that uses the musical concepts of the legendary Marcel Tabuteau as a starting point from which to develop musical thought. McGill methodically explains the frequently misunderstood "Tabuteau number system" and its relationship to note grouping-the lifeblood of music. The controversial issue of baroque performance practice is also addressed. Instrumentalists and vocalists alike will find that many of the ideas presented in this book will help develop their musicianship as well as their understanding of what makes a performance "musical."

Genres: Music, Nonfiction

392 pages, Paperback

First published October 29, 2007

Reviews

[Eleanor · Rating 5 out of 5]

Sound in Motion has been described (to me, informally) as a controversial book. How dare someone have the audacity to claim that musicality be taught or constructed intellectually? Right from the beginning McGill addresses (and dismisses) such attitudes that have historically stigmatized the effort to better understand music (and all art) by making a study of it. This alone was a breath of fresh air and gave me a great deal of respect for McGill up front.

The meat of the book is note-grouping, phrasing and a scholarly approach towards interpretation that is highly expressive *because* it is harmonically, historically, and technically informed. The book is broken down into very digestible chapters that read like eloquent discussions one might have in a private lesson. McGill's personal tone is scholarly yet friendly, dryly humorous, and above all conveyed with a sense of warm-heartedness that belies a sincere love of teaching. The difficult or controversial topics such as vibrato or baroque music are handled frankly and honestly without the sense that there must be a "definitive" answer for every piece. Thanks to the organized layout and directness of each topic, it seems possible to use this book as an easy reference. Much of the content of this book will be intuitive to regular performers - many other topics may be intuitive but not yet fully embraced. Personally I've been extremely satisfied with my own playing after applying many of the ideas presented and, by the end of the book, McGill had so earned my trust that I'm going to try to listen to every recommended recording in the Appendix.

I highly recommend this book to every classical musician with at least a basic understanding of music theory. It will take your playing to the next level.

[Kurt Eide · Rating 4 out of 5]

I admittedly skipped/skimmed some of the less trombone-relevant items, but this is a book that I think does a great job of offering concrete answers to amorphous or open-ended questions.

The book is dogmatic when it needs to be, and provides multiple pieces of evidence to prove itself and disprove other approaches.

The book also admits nuance when applicable, and does not prescribe any all-encompassing tenants when the evidence does not present as such.

Overall, i think this book is a helpful, if somewhat complex and in-the-weeds at times, way to begin thinking critically about one’s idea of musicianship.

[maddy · Rating 5 out of 5]

literally one of the best music books i have ever read, especially since it is so geared to the oboe player

[JackPlaysViola · Rating 4 out of 5]

There are some golden nuggets in here to help think about musical phrasing logically as well as some valuable philosophy on what being an artist means. So I would feel very inspired after reading a little bit each day, but my god this took me forever… I’ve tried reading this book off and on for the past three years but I just get so overwhelmed with the information. Finally forced myself to complete it here in China tho

[Adam Almeter · Rating 5 out of 5]

Sound in motion is emotion in sound. What a truly incredible book.

[Kate Wegener · Rating 5 out of 5]

Sound in Motion is without a doubt the most brilliant and comprehensive book on musical phrasing and musicianship that I have ever read - I was blown away by McGill's insight and thoughtfulness. You do need a basic understanding of music theory and the classical music repertoire to get the most out of this novel, but for any serious musician it is an essential read.

[Maggie Cox · Rating 4 out of 5]

This book was really good. I wish that I had read this book when I was 18. Going to return to the sections on suggested listening. Skimmed over the parts about how to tune various intervals. Would rather watch a video about that. Partially read this book on my iPad during various gigs but happily finished at Christmas.

[Cate · Rating 4 out of 5]

Let me tell you‼️‼️ This book was so long and I forced myself to get thru it but I learned a lot so solid 4 stars ‼️‼️

[Rachael Cohen · Rating 5 out of 5]

A must read for any serious musician!

[Ansel Christensen · Rating 3 out of 5]

Very confusing first half. Generally a decent book, but approaching music from analysis did not feel as earth shattering as McGill made it seem.

[Jonathan · Rating 5 out of 5]

I heard from a colleague that this book was for someone who is in college and has not yet learned some of the all-around concepts for good wind playing. Part of that is true, but, as an adult musician, many years out of college, I actually found much useful information in this book; it freshened up so many things that I had forgotten or don't use in the types of orchestras that I play in. All of the main points of a good program of study in a wind instrument are in this book.

I thought the book was very well written. David McGill has an excellent way of delivering the information so that it comes out in a most elegant fashion. I haven't experienced his playing, yet, but I am sure he is a great bassoonist- He is the Principal Bassoon in the Chicago Symphony.

I am so glad this is now part of the repertoire of books about good wind playing. I super-recommend it to anyone who is in a music program studying an orchestral instrument. If I was teaching college bassoon, I would require my students to buy this book.

[Carlos · Rating 5 out of 5]

Excellent!

Amazing contribution by bassoonist David McGill. Very helpful for any musician, specially for woodwind players. Includes a good ammount of hints by other famous musicians, like Marcel Tabuteau (the great inspiration of McGill's musical thought), Fritz Kreisler, Maria Callas and Leopold Stokowski. Also a elucidative section about active listening to musical recordings by very special artists.

[Rebecca · Rating 4 out of 5]

There is so much thought-provoking and intriguing information in here it took me a while to read. And consequently, I forgot by the end what I had read in the beginning. Some of the concepts were inscrutable to the point I couldn't figure out where to go to find a basic explanation. I think this will be a good one to re-read on a regular basis.

[Joe Radtke · Rating 5 out of 5]

This is a must read for any serious musician.

[Lara · Rating 5 out of 5]

A must-read for every professional musician, but especially oboists!