MUSIC WORKSHOP

The workshop is for professionals and beginners and teachers in every genre. It’s for individuals, as well as small and large ensembles, In general, this workshop teaches some surprisingly unknown secrets and shortcuts to musicality and expression through explanation, demonstration, and hands-on experience, with a laser focus on dynamic variation. All the revelations, both musical and psychological that I’ve experienced over 50 years, I’ve boiled down to a one minute exercise, that is easy to master. (Also available in my book on expression). Understanding what is behind it, and experiencing it first hand, will prove to be a most important tool in your kit for both performing and teaching. Scroll down for DESCRIPTION and FEE. - Corky Siegel

Please begin by reading the testimonials.

On THE WORKSHOP

I have been a musician for 45 years playing bass and everything from symphony orchestras to jazz, rock, folk, country, and zydeco band, to renaissance groups. This has been the most powerful musicianship tool I've ever found. —Mark Gray, Performer, MusicEducator, Roaring Fork High School and Carbondale Middle School, Carbondale, Colorado

Corky Siegel’s methods for finding dynamic expression inside yourself will forever change the way your band, chorus, or orchestra approaches music. It is that profound a tool …   —David Roche, Ph. D. Arts Education – Chicago Public Schools 

Now … I get outstanding audience response in every song / solo and that’s the best turn-on there is! —Gary Gand – True Blood – Gand Music and Sound  

I am walking around rather amazed today. I spent some time practicing this morning,  playing Bach and exploring your ideas and suggestions. What has occurred defies description. I know you’ve seen the impact this has on people—you can add me to the list. The way I play seems to have fundamentally changed and improved overnight. I can't actually believe it, but I think it is true. —Michael Miles, (past) Music Education Director, Old Town School of Folk Music   

Follow up years later: ”I'm on a plane to Seattle and just finished re-reading  your book, maybe for the 3rd or 4th time. And it rings and grows deeper - making me really want to do the one minute exercises right now, RIGHT NOW! — Michael Miles

… my playing has completely turned around … [my] confidence and [my] abilities explode.   —Rick Trankle – Musician and Music Educator  

On LET YOUR MUSIC SOAR (The Book)

Let Your Music Soar returns music to those who love and make it. Corky Siegel's book so beautifully accompanied by Holly's pointed and amusing artwork offers immensely practical insights into how to draw out the music that is within us and share it with others. Thirty years of trial, error, and joy have been distilled into a bracing and entertaining brew. — Scott Simon Peabody - Award Winner, Host of NPR's Week-end Edition

What a fantastic work! It should be required reading for any musician, whether you are an amateur or a seasoned pro.  —Ellis Kell, Blues Guitarist and Singer, Music Columnist, The Rock Island Argus, The Dispatch and The Leader

Let Your Music Soar is a revelation  — Rick Kogan – Author & Music Journalist, Chicago Tribune & WGN-Radio

The book reflects his artistry and originality as an outstanding soloist, composer and improviser, and reading this book is as much fun as playing music with him. Highly recommended for all ages!  —David Amram – Former Composer-in-Residence, New York Philharmonic under Leonard Bernstein  

Hallelujah! I have just read, learned, been inspired, cracked-up, and soared through my first of many readings of this book. Holly's illustrations are super-cool! After years of writing and coaching vocal improv, I’m reinvigorated. I can express things better with my students and in workshops and am more “Sue,” with no apologies, in my own performances.  —Sue Demel,  Educator and Singer,  Sons of the Never Wrong.

Follow up from FaceBook post 2-15-25: I love this class and the book that he wrote. it is a life changer! ... Corky, I teach dynamic to my singer songwriters because of you, you are the life changer. Love the book so much. — Sue Demel

50 YEAR HISTORY OF THIS WORKSHOP

In 1973 William Russo, trombonist and arranger for Stan Kenton, who composed three major works for me, the Titan Symphony for Leonard Bernstein and was a founder of Columbia College in Chicago, asked me to take over his class. I always felt that the subject of dynamics needed more attention and so I used these two weeks to explore, and experiment extensively along with all the students. I began to see that the laser focus on dynamics was transformative. I’ve conducted workshops for Fischoff, Interlochen, Music Institute of Chicago, for international chamber music competitors in Mexico, and countless others. (see Amazing Stories below.)

Description

This workshop focuses on dynamic variation which is one of the most expressive elements of music performance.

For smaller groups and individuals, where I can offer substantial individual attention, I work to guide each participant quickly to achieve and imbibe a dynamic range between ppp and FF.

NOTE: It is surprising how few professionals and educators perform with a range larger than P-F, and usually it's never more than MP-F. Being able to use the power of true ppp in music performance is transformational in so many ways. That's one reason why this workshop is so essential. And the secret? The physical dance of motion, touch, and pressure are the controlling factors in music performance where expression emerges, and where it is felt by the artist.

I guide the participant to understand and experience for themselves what "delicate" and "forceful" means in physical terms. After only 2 or 3 minutes of establishing a substantial physical range of intensity I ask them to perform their work. It could be at any skill level between "Twinkle" or "Beethoven." At this point they will exhibit a natural dynamic flow between these two extremes on their own ... or with a little guidance. Sometimes it takes substantial guidance for this to be understood inside and out.

The onlooking participants will explain that there was immediately more expression, more dimension, enhanced tonal quality, more confidence, better posture, the presentation was mesmerizing, more intimate and exciting, Most often the participating performer will also feel that too and sometimes respond spontaneously; "Wow, thank you! This is astounding."

Throughout the workshop I offer graphic demonstrations and explanations of why this is 1) so effective, and 2) so important, and 3) why we forget it to apply it, and 4) how we can remember to use it, 5) and I share a lot more counter-intuitive realizations that came out of 50 years of experimenting and conducting workshops on the subject of dynamics and expression.

For larger groups, only a few participants will receive individual hands-on guidance. However the whole group is guided through exercises that accomplish the same transformations for the group as a whole.

I offer the participating musicians and teachers the necessary tools for passing this on to others on their own.

AMAZING STORIES (A few examples)

Heavy Rock band. A couple weeks after the workshop, where they also learned to play at an ear-friendly level, the leader of the group called me. He was very excited. He said they were now getting outstanding audience reactions and the club owner immediately hired them to play twice a week instead of just once a month.

20 Flute students at a renowned classical music foundation followed my instructions and performed brilliantly.  But the professor seemed displeased and seemed resistant.  A few months later, to my surprise, the professor called me and said; "You should see what you did to my students." and invited me back for more workshops.

Saxophone. Within the first three minutes of a 90 minute workshop the observers spontaneously yelled; "goosebumps." The young saxophone player started out sounding like the student you would have expected. He followed my instruction and after 3 minutes sounded like a recording artist.

Singer-Songwriter. I was at the first performance following the workshop. I sat next to his wife. She said; "Wow! What did you do to my husband?" He was like a different performer, story-teller, folk star, the audience was mesmerized.

Competitions. I tell the people that are in competitions, if they apply these techniques they are likely to win. Of course I have no way of knowing what happens, but wins are indeed reported back to me. One high-school music teacher said the judges explained that the band was so much more expressive from anything they've ever heard that it was an easy choice.

Member of my quartet. The player tried to launch their string quartet into a touring ensemble by entering an important international contest as a first step.  They rehearsed a Chamber Blues piece for string quartet that was filled with outrageous dynamics. They used my techniques in rehearsal (which they knew very well having been involved in many workshops with me). But they also applied their own rigorous version of the technique. They won this major contest and are still a touring entity.

Big Band Jazz: After guiding the students through the techniques I asked them to play their piece again but without listening to each other. I told them to just focus on their own intensity variation. The music director said; "Are you out of your mind? I've been trying to get students to listen to each other my whole career." I responded; "Yes, I'm out of my mind, but watch this!" After the students finished playing and the observers cheered and gave them a standing ovation the music director said; "I've never heard students respond to each other so intimately. But you told them not to listen to each other." I explained; "When you 'listen' you tend to take your attention and energy away from what 'you' are doing (where it really needs to be) and place it somewhere else. But when you are focused deeply on what you are doing, and you are in a world of expression, you can't help but respond to the musicality going on around you.”

The One Minute Exercise: Knowing there are always so many things to rehearse and knowing that it is impractical to spend the time on expression, and yet knowing how important expression is, I found a way of compacting the essence of the workshop into one minute to help assure that expression will happen more naturally during a lesson, a rehearsal, or a performance. It only needs one to three minutes depending on the circumstances to do this. I share the steps at every workshop. (See description below). When working with a big band quite often the director will turn to me while conducting and exclaim; “Wow, this is great!” This is because he is surprised that the band is now responding intimately to every subtle move he makes.

Requirements

Participants: Professional or intermediate, singers, players and teachers. Beginners are accepted but must be able to play at least three or four little tunes like “twinkle,” effortlessly.

Observers: Free of charge. Observers who care about you, can witness from a more objective viewpoint and offer great feedback..  I.e. spouses, friends, teachers, managers, agents, producers, family, etc. 

Fee

For University, High-School, and other music organizations, the price will be customized depending on the situation. To accommodate small groups of 5 or less the fee will generally be $200 for each participant. There will be a $1,000 cap for any size group of 5 or larger. I.e. symphony, big band, concert band, choir, drum line.

Contact me here and we can customize and personalize your workshop.

Cousin Corky

The book is $25 + $5 shipping.

MUSIC COURSE THROUGH THE HARMONICA: I have an on-line music workshop for all, through the reeds of the harmonica. Harmonica players, harmonica teachers, absolute beginners, can take my ultra simple on-line music course that insists upon expression. It’s posted at the Subramaniam school of Carnatic music in India. Learn more.