Persönliches Perspektiv; Das Pferd ist sein eigenes Wesen!

Mit dem Pferd arbeiten, nicht gegen ihm arbeiten; Entwicklung der Willigkeit macht ein unabhängig und freigebiges Reitpartner!

Artikel von Herr Kurt Hartle

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Seitdem ich fünfzig Jahre alt war habe ich mit Pferden und Reitern gearbeitet und gelehrt. Das macht nun bei meinem Mittelälter eine ganz lange Zeit um Lehr-, Lehrn-, und Lebens-erfahrungen mit Dressur und Pferde im algemein haben. Űberhaupt wichtig nach meiner Erfahrungen zu erkennen ist, dass das Pferd sein eigenes Wesen ist! Immer noch problematisch wird unsere Beziehung zur Pferden wenn wir von es zu viele Verlangen ohne seine Natur mitarbeiten erwarten. Um die Lekktionen zu beherrschen mussen wir erstmal sich uns beherrschen. Dadurch wird das Reiten eines Pferdes eine echt bedeutend und sinnvolle Partnershaft.

 Ich ermögliche als Reiter die Dressur für’s Pferd und interessiere mich für seine Wohlsein

Soll’s Pferd durch seiner Ausbildung sich für ein intelligentes oder dummes Wesen unterm Reiter genommen sei? Erfolgreiche Anwendung der Hilfengebungen dependet nicht nur auf techniker Rezepten der Dressurlekktionen aber auch auf das sogennanten Wie und Wann des Anfassens. Wie wir den Pferd in alle neuen Lekktionen einführen macht die Verschiedenheit zwischen Entwicklung der pferdlicher Willigkeit und das Widersagen jedes Kommondos des Reiters aus Miβverständnisse. Um es gut seine Dressurausbildung zu erleutern müssen wir als Reiter-innen (sogar wichtiger als Menschen) die psychölogische Brauchen der Pferden während des Lehrnprozesses nachdenken.

Ein Pferd ist ein Wesen mit Gehirn, Gedanken, Gedächtnis, und hat ins Leben seine eigenen Willen und Glückwunsche. Bei der Dressurarbeit soll’s Pferd in sich immer noch wohl fühlen. Meiner Ansicht nach, reiterliches Gefühl für’s gerittene Reitpartner ist am wichtigsten um die Leichtigkeit zu erfördern. Und, im Prozess kann das Pferd als freigebig in seiner Arbeit, ein Intelligentes Lerner, soziale Mitglieder, und ein natürliches Wesen genommen sein!

Durch gutes, geduldiges, regelmaβig und sensibeles Reiten macht die Dressur Pferdelogik für den Tier. Es will bessere Gleichgewicht in alle Grundgangarten finden. Es will soziale Beziehung zur Anderem und sucht sogar ein sicherer Platz auf der Erde haben. Durch reiten will’s Pferd sogar Freude und Zufriedenheit mit Erweiterung seines atletischen Möglichkeiten entdecken. Ich bin immer auf’s Versuch dieser Zielen im Umgang mit Pferden. Und, im dressurartiges Wandel der Partnershaft eines Pferdes, darf ich mich‘s auch als Reiter genieβen. Pferdliche Macht und Geschicklichkeit ist was besonderes! Ich kann es nur erhöfnen, dass beim Reiten es auch so für alle Menschen und Pferden sinnvoll und bedeutend ist. Das Pferd ist tatsächlich sein eigenes Wesen und durch ein gottesgegebenen Geschenk es will mit Menschen arbeiten, Freude finden, und vom anderen Wesen lernen.

“Das hochste Glück auf der Erde liegt auf dem Rücken eines Pferdes”Image

Weitere persönnliche Auskunft/Geschichte über den Autor diesen Artikels:

Ich, in meiner Jugend, kannte weder keine Ausdrücke noch Wörter die mit das Loben zu tun hatten. Das weil, mein Groβvater (das einzige in der Familie mit wem ich auf Deutsch sprechen konnte) nicht so einen Vokabular zu Hause hatte. Wegen seiner  Persönlichkeit  Lobenswürdigkeiten warren nie zu erwähnen.  Wir hatten zusammen keine Chancen das zu explorieren denn er die Neigung gewöhnlich mir auf Deutsch zu brüllen war. Schädlich und schade, dass er während meines Jugends absolut keine Geduld hatte. Ich habe am Ende trotzdem viel von ihm gelernt. Und, als ich fing mit Pferde zu abeiten, entschied ich es im algemein mit Pferden so unzufriendend streng, hart und übertriebend nicht sein.

Obwohl mein Vaterfigur in Opa nicht das richtige Muster war, bin ich für jedes Pferd sogar vaterlich und so viel wie möglich behilfich bei meiner Handlung und Mitartbeiten eines Pferdes. Nachdem meine kindliche Erfahrungen, ich war absolut erstaunt als ich zum ersten Mal Loben fur’s Pferd aus dem Mund meines deutschen Reitlehrers auf Deutsch gehört habe! Positive Ausdrücke warren mir am Anfang meiner Lehrlingszeit total unbekannt. Wörter und Ausdrücke so wie „So is schön, brav, du netter Kerl, gut gelungen, Prima! Ganz Liebes Pferd…“, usw. warren mir damals leider auβergewöhnlich. Seitdem meiner Lehrlingsjahren habe ich mir, dank an dieser netten Reitlehrer, ein breiteres positives Vokabular ins Leben und besonders für den Pferden die ich reite entdeckt! Mit meinem alten Reitlehrer konnte ich mich nicht nur als Techniker verbessern aber auch Empfindlichtkeit für’s Pferd lebenslang finden und haben. Loben und Lobenswörter sind viel mehr wirksam als fehlerhaftiges Denken. Verlangen beim ihm nur nach ein seltsames Ziel warren. Und, dieses Ziel war und ist noch immer was am besten fur’s Pferd ist! Es machte eine starke Eindruck und stand als gute Beiβpiel die ich als Reitlehrer lebenslang folge. Ich will dafür, dass ich mit jedem Pferd mit seiner gutgebenen Mühen zufrieden bin. Lobenswürdigkeiten beim reiten sind viele. Und, Lobensausdrücke häufig benutzen beim reiten macht’s je mehr Etwas positives.

Fernando Sor, Breathing New Life into Old Works

As you can tell, from previous article titles, I often have to cope with putting musical works on hold. One strategy I’ve come up with is to take on a playful adaptation of a prior work (my own or that of a favourite composer). In this way I can modify sounds, textures, and moods whilst using an existing piece. It’s a way to keep the brain agile, especially concerning arranging and orchestration. A bit like adding oil to an engine, it keeps ideas lubricated. I know I’ll be able to rev the creative engine later, concerning my own works, when time pressures ease.

I have chosen to put the development of my own pieces down ‘briefly.’ In the mean time, to keep my mind engaged, I am working out a pianoguitar duet based on a short piece for solo guitar by Fernando Sor. I have little time these days for practice, let alone performance. But, I have many fond memories of past performances. Among the common cannon are the 60 Short Works for classical guitar. Good music has a timeless quality. The character and depth of expression make these studies an ideal focus for a bit of compositional effort. Here are my reflections on the process:

I look to preserve the characteristic phrases that make the piece a strong performance work for classical guitar. But, I also trade-off the solo line to the piano to extend the register above or below the relative guitar range. In places I have applied minimal piano – meaning no chordal or particular harmonic depth – to act as a surrogate guitar. The piano is a remarkably versatile instrument. And, in the case of this project, I am asking it to ‘become a guitar.’ (Yes, I was tempted to create a duet for two guitars…but thought that the piano could provide greater range in the lower and upper register [octaves]).

Both the guitar and the piano are string instruments, struck or plucked, with the ability to be percussive or lyrical within their physical parameters. I envisage performance in a hall which provides some resonant reverb as I compose. That way the interplay crafted between the instruments is neither too sonorous for one, nor too percussive for the other. My efforts should provide a blend of both percussive and lyrical qualities at the appropriate time. Even so, I want to favour the guitar in the overall expression. Young pianists enjoy a much larger performance development repertoire than young guitarists.

I take some creative license in shaping the piece. However, I don’t want to re-write a perfectly good composition. I’ve had to consider the transition(s) between major key passages and its minor form. As a solo work the shift is instantaneous. But to softly integrate the piano lead-in to the guitar I have ‘stretched’ the entry into the key change to minor and its return modulation to the major key. I have restructured the form. As a guitar solo, the piece stands with several repeated sections. I have removed two such repeats, and only covered the minor modulation once (because I elongated the entry into minor and crafted a very expressive minor-mode form with a short cadenza). As a guitar solo, the work relies upon the guitarist to re-interpret each section. But, I have discovered that the piano and guitar pull each other forward so effectively that I didn’t need the original repeats other than to restate the lovely theme to a finale.

Keeping the young player in mind, I plan to keep it simple – within the easy to moderate level of difficulty for both pianist and guitarist. The plan is to do a few such treatments to favourite works by Sor and publish the scores for young performers. I believe such a project might benefit young players who are looking to expand their range or repertoire and possible development within an ensemble. I know which piece is to be the next…if only I can locate it amongst the other volumes on the shelf!

As a coping strategy for dealing with external interruptions to my original compositions this kind of project is helpful. I am more at peace with permitting current delays to the development of current works. And, in coming up with this as an idea I now have a project to publish that I wouldn’t have otherwise thought of before! The exercise is breathing new life into old and familiar works. Great fun, indeed.

How to Anticipate Audience Response; Writing Works That Reach Out to the Public

The energy built into a particular work comes from its spontaneity, form, development, and the artist‘s primal love for the act of creation. The composer/writer/sculptor/painter brings personal panache, style, experience and fundamental sense of experimentation to bear.  The average observer isn’t conscious of the elements you used to produce your work. Most observers, however, are able to recognise whether or not your work ‘speaks.’ It is because of that the composer must apprehend his or her own rationale behind the art. It is perfectly alright to create works of singular brilliance, that potentially no one else can relate to. However, if you have an audience in mind, you must be able to provide familiar links while including your challenging content.

The goal remains; how does one  create new material that easily relates to the general public? One way to easily accomplish this is to write in a current popular form and style. Similarity to contemporary, successful works can provide an inroad. The listener already enjoys a particular style. If the new artist can emulate or incorporate something of that style the audience may readily receive new works. The caveat to this is the risk one takes in sounding too much like other works. If the singer-songwriter writes pieces using the same sort of chord changes, vocals, and rhythms as other songs that have attained some success there is a slim chance that the work will bear some successful traits. But, some originality can be lost. The pop artist engaging this method would have to rely on tapping into a trend or groove that has been cut for them. How well the new artist can enter a pre-existing groove remains problematic. Tapping into a popular style may prove a good entry point. However, at some point, there has to be a leap forward toward innovation. The artist who is rooted in a familiar form and style has ‘relatability.’ New works must also try not to seem too fully engaged in merely imitating the work of others. Identify the specific elements that you use differently. Without over-using them see how well those elements may integrate into another (popular or familiar) style. Cross-over and blending your unique sound(s) can make your music reach out farther.

Often, the songwriter’s best avenue for innovation is a thoughtful treatment of the lyrics, story, and choice of subject matter. For the composer (with no vocals/language to rely on) tapping into previously known forms and styles may provide a sound link between innovative sounds, new melodies, or unique chordal shifts and the audience. If there is sufficient commonality between old works and the composer’s new work there will be a great chance of inspiring an audience to consider and accept the new work.  Without a sense of discovery, restatement of prior works will not engage the average listener. All of science and society has built upon previous discoveries. Old knowledge is adapted into modern usage and application. It is (without any copyright infringement or direct imitation) natural to utilise a past platform and adapt that to one’s own mode of expression. This process can only go wrong if the imitation comes too close to plagiarism. What we do by interweaving known sounds and forms with innovative one’s is to accommodate the listener. I do this to a certain degree in my own works. I integrate the pop-song form into a classically styled work. My work titled ‘East Anglian Rhapsody’ does this, quite evidently. This process makes the attempt to hear new works feel ‘safe.’ It does not mean that a composer has to adapt innovative sounds and orchestrations on a grand scale. Such commonalities may be established in quaint and, or, overt ways. Points of reference can lay in the simplicity of a melody, the over-all structure of the piece, familiar chord progressions, and or familiar instrument pairings in the arrangement.

Some artists seek to work within a particular style and paradigm…while others refuse to be constrained by any such rule-system. Concepts (as I would name them) of dedication, invocation, reflection, mirroring, variegation, removalin-fill, overlay, selective removal, mimicry, and or divergence may be present in any measure throughout the process. The artist may choose singular and individualistic ratios of any one of the concepts I’ve presented. I intentionally do not define these for the reader. I believe that, in examining the possibilities each of these  concepts may hold for you personally and intellectually, you must define them (thus utilise or refute them) for yourself.

The list above represents metaphorical branches on a tree.  They are yours to grow, shape, trim, or cut away. By working out personal definitions of these or any other elements you might have conceived yourself, you are beginning to better understand some of the functional links at play between you and an audience. This exercise is an effective way to gain conscious recognition of parts and functions within your art work. Understand those and you gain control of the subsequent form(s). It is analogous to taking time identifying component parts of a tree, roots, trunk, branches, growth nodes, leaves, flower buds, etc. You don’t have to know all of the parts of the tree (biologically) to climb it. But, knowledge of the many components of a tree is required if you seek to prune it in a healthy manner.

My tree-surgeon’s metaphor may not work for some. I use it to imagine that my own eccentric taste might not be shared by others. People generally prefer symmetry, the golden ratio, and structured sounds they can relate to. If my pieces were solely constructed to please myself, they might not relate to anyone beyond myself. It is in being able to integrate my artistic efforts with those around me that lends a quality of  ‘relatability’ to the work. If I work to shape a phrase of music that challenges the tonality, I try to deliver it in a palatable manner. Otherwise, my wild imagination might guide me toward a musical passage I thought was fun yet others might find distastefully styled. Granted, some artists don’t worry about being possessed of a highly idiosyncratic style. Past examples are Wagner and Brahms. They were steadfast in their individual creative style or taste for invention. And, generally quite some time later, in the wake of much controversy, they had finally forged an audience with a common taste. But, most of us don’t want to wait until after death to know whether or not our works gained acceptance.

The integration of popular style into one’s works can feel, to the purist, like a ‘sell-out’ to one’s artistic integrity. However, compromise is the hallmark of a robust human being. Like a tree which can bend in the wind, such an integration of invention and discovery combined with familiar form can weather the storm. Writing music that almost sounds as if the listener has already heard it beckons memory of something pleasant. That approach can build a foundation from which the audience participates in the discovery. The boundary between ‘story teller’ and ‘story listener’ becomes blurred. An audience which is drawn in by something familiar willingly partakes of the story teller’s art. Such is the nature of  providing an audience with sufficient points of reference.

The integration of some aspects of prior, known works may take several forms of expression…familiar instrument combinations in the orchestration…a vaguely familiar melody with one’s own touch or embellishment…the introduction of a familiar format before departing into one’s own discovery, or any manner of reach into prior musical expression. My goal is not to write the music for you, merely to inspire deeper thought and engagement of the ideas which govern your own work. As I said before, compromise is a hallmark trait of human being. The ability to smoothly and artistically integrate previous work-forms into one’s own inevitable style gives the audience a welcome mat on which to step. Knowledge, whether great or little, of one’s own drive and function behind the music adds conviction to the composer’s efforts. I encourage the reader to become (if you aren’t already) intellectually curious. Find keywords that trigger and guide your work. From there you’ll inject enough authenticity and enthusiasm to encourage a healthy, willing audience for your works.

 

How to Preserve Artistic Identity When Life Gets in the Way; Finding Peace Amid Day to Day Interruptions

Cover Art for first Album

Here in Southwold, we have a strong artistic community. And, we enjoy strong art patronage. Whether one’s art is geared for personal satisfaction or commercial production it can be a monumental challenge to balance real life interruptions. There are many things that can interfere with our sculpting/writing/painting/composing.  In my own case it took a while longer to develop and collate the works chosen for my debut album than I’d planned. The challenges on my time to accomplish the first release were great. My own perspective as a composer, coupled with a degree of personal awareness of the general creative process, may provide assistance whatever your art medium happens to be.

The challenge lies in finding a way to recapture the mindset you had when you began your work of art before it was interrupted. If you’re retired, possessing bags of time to make progress, or a confirmed professional in your sphere of the art world, you might already have all of the time  resource you need.  Even then, life still chucks distractions at you which may interrupt your creative flow. As I write this, there are interruptions, family needs, pressing matters. *gentle sigh* Life, like music, vibrates. As I squeeze a tiny bit of artistic sensibility out of the crevices of a busy day I actually feel more at peace than hassled and hustled. Life is for living…you can always dedicate a little time later to resuscitate your art or music. Finding a measure of peace in coping with outside pressures is a choice you must make. Here are a few strategies which may help.

We all want to maintain our sense of self but must sometimes tuck our artistic identity (hastily) into a back pocket!  The good news is, you can still preserve your artistic identity throughout the day. Many artists have to hold a so-called day job. That job, which keeps you fed I remind you, may require patience…a great deal of it, in fact. Keep your self-definition as an artist close by. But, try also not to allow the knowledge that you’re capable of so much more taint your efforts at a more mundane sort of work. Your identity and pride in your art can elevate you throughout the day. People around you (co-workers) cannot be expected to reach out to you. Be the first to extend some understanding toward them. Remember to yourself, when you’re feeling pressed upon and indignant, that to be able to relate to those around you will inform your art style and composition to reach a broader audience. It is possible that your colleagues know nothing of your artistic pursuits/talents. Fine, if you prefer to keep a professional distance from them. You may even find the thought of having that little secret about yourself adds some mystique to your work personae. A small change of paradigm can bolster your inner strength. Make efforts to convert a negative into a neutrality…or if you’re pretty good at engaging optimism convert to the positive. The little bit of work you put into this will pay big dividends.

Even if a little tongue-in-cheek, ‘keep your friends close…keep your enemies even closer.’ The truth is there are no enemies at all. And, we all need a personal method for defusing daily tension and stress. Much of that stress is self-inflicted. The moment you realise this, the pressure subsides! We all contribute to each other’s quality of life, even in carrying out small and humble tasks. 

I often start a new piece, drop it mid-flight for some sort of real life ‘urgency,’ and then come back later to renew my engagement of the idea(s). Naturally, if I have a commissioned work I commit to its completion within the given time frame. In that case I have a job to do and I ‘remove myself from other runnings.’ That’s an eloquent way of saying I’ve made myself a temporary recluse to complete a commissioned work. When it comes to my own inventions (pieces written for my own pleasure/leisure) I am able to put them aside and return with no loss of depth to the work. If the circumstance requires me to drop what I was doing, I make mental or hastily written notes. A memory prompt like that takes me straight back to my moment of departure. In writing down a few words I have marked the thought I had at that moment. Sometimes I come back to my quick jot and find it utterly inappropriate…but it always helped to reorient my original idea. Albert Einstein preserved his conceptual brain space by writing notes and said famously (and I paraphrase), ‘why commit to memory [something] which one can look up.’ Lord knows I’m no Einstein. However, using memory prompts serve like a book-mark so that I can pick up on the page where I left off. You’d be surprised how few people use this simple tool.

I have discovered that being made to break from composing can impose an extremely helpful distance from my own works. If I were to remain too fully ‘in love’ with my own ideas I would lose the ability to edit or even abandon a poorly constructed phrase or melody. Take a moment to imagine this paradigm shift for yourself: Tell yourself that you are grateful for the thing/person interrupting your art; Say that you welcome the gap-time from your art (as it lets you view or hear your art from further away); Let yourself be pulled away from that particular project…if it has enough pull it will draw you back like a magnet. The compass will point in the right direction, and sometimes taking a circuitous route proves the more successful path. The map will still be there to read. What you are becoming is a better navigator, able to cope with the occasional/frequent detour! Even if you are playing devil’s advocate, applying this tip will help you to accept the whole process. It will also help to make you easier to live with…provided you care to address the concept of quality of life for those around you…as you may being to demonstrate some measure of good humour. In any case, you are becoming less a victim of life’s little inconveniences and interpositions.

My next secret to share is to place trust in unconscious storage. That means that your artistic ideas sometimes take flight in amazing ways if you allow yourself to sleep/dream on it. Modern man has to cope with many different levels of cognitive performance and absorption. The onslaught of information in this day and age means that our minds aren’t given any ‘processing time.’ In order to come to terms with the barrage of tasks, needs, duties, and all manner of outside interference which forces breaks in my creative endeavours I choose to view such distractions as a helpful part of the journey. I’ve had dreams which provided solutions to problem areas of form or mood in my music. Such moments are rare, it is true. However, I can better make conscious use of problem-solving efforts if I am not wound-up about the last hiatus within my work. [see also; adaptive-reasoning] When I place trust in the physiological process that takes place overnight, i.e. sleep and the ordering/organisation of experience, I know that my ideas and creativity are something still ‘at work’ in my mind.

Granting myself permission to let the music I’d put on hold play out overnight is like a pressure release valve. If my given productive time has run its course, and I still haven’t come up with a solution to a problem area in a new piece of music, the resolution often comes when I’ve allowed myself to let go of it. Or, if I’ve simply run out of time and am too tired to continue I feel better about letting go. Giving oneself permission to rest on an idea eliminates negative conditioning. You will begin to grant yourself rights and freedoms which can unlock the creative process. In this way the artist may better balance the active-and-passive elements to unlock the evolving work of art. This is not to confused with procrastination, nor a lack of work ethic. That condition is beyond the scope of this article! What I’m suggesting here is a way or method of applying a holistic methodology. The human mind at ‘rest’ can be a powerful instrument and unravel problems that had been blocked by various elements during conscious/waking hours.

Actually, for being sidelined for a while, I’ve had a few of my pieces over the years turn into something much bigger than they would have been. There was a measurable increase in quality for the pause. It has taken some time for experience to recommend me this. Thus, I  have shared these suggestions with you so you might recognise it sooner. Conscious or unconscious, isn’t it good to be able to let go rather than struggle to hold a thing too tightly. Life and art doesn’t have to be a constrictive and white-knuckled ride. If you have a new tool, use it for the right reason. Learn not only how to cope with life’s interruptions to your art process, learn to be at peace with them. In these ways you can convert those interruptions into welcome and useful tools!

What drives us to compose?

I believe that one of the finest and noblest pursuits we can do is to try, in some way, to improve each other’s quality of life. I know that music can be one of those life enhancements that can make difficult times more bearable. Music can transport , soothe or agitate, entertain, calm or excite, even challenge the listener.  There is no other complement to a story like a good sound-track.  For the deaf, its vibrations may be felt and appreciated. It can recall a story, person, place, or time. Music can also inspire memory and scent, remind one of a touch.  It can be simple or ornate. Few other things in life reach as many of the senses as musical works can.

Music can be used to express a broad range of emotion and can be applied to a large (perhaps endless) sampling of subjects. In a similar way to the visual arts, music may reflect or confront a subject. Music (and art in general) serves to explore human instinct and understanding. And, understanding is the underpinning of communal good-will. Putting all ego aside, no matter how grand or humble the musical form, compositions of all sorts bring pleasure, greater understanding, invention, and expression. For its ability to convey subject matter, mood, and scene, music is an activity which binds fellow listeners. It lends itself to a manner of social cohesion yet also holds appeal for the individual.

Music is but one way to make the world a better place. Beauty takes many forms, moods, and modes. I suppose every composer feels a certain responsibility to engage and reflect that range. I certainly couldn’t answer for all composers. Each individual’s style and tastes may vary. And, in truth, music does not have to follow conventions of beauty. However, music has the power to capture and engage many of the senses. It is an art form which grants the ability to portray a wide variation of subject matter. This is what drives me, personally, to compose. Whether my works are considered beautiful, controversial, or expressive is for the listener to judge. I only know that it is a strength in this world to be creative and, hence, a weakness to be destructive.

Listening and or creating a musical work is a bit like taking time to smell the rose, touch its silken petals, feel its thorns, stare into its colours, and marvel at its growth! What are your thoughts? I believe modern living doesn’t allow us enough time for thought and philosophy. Would you agree?Image