What is a climax in music? A climax is essentially the most intense and emotional part of a sentence. It is not necessarily the highest or strongest pitch, but it is the most emphatic in the cycle of a performance phrase or musical section. There is always a beginning, a climax and an end. The climax can occur at any point between the beginning and the end of the cycle, but it usually occurs in the middle.
To really understand what a climax cycle is, let’s take some non-musical examples. Take laughter, for example. As one laughs, there comes a point where the laughter becomes more emphasized, usually followed by some kind of shortness of breath (especially in the case of deep laughter), and calms down. The emphatic part is the climax. Another example would be drinking a glass of water. In the actual movement of the glass, changing from one point in space to another, when the background reaches the highest level of elevation, it technically marks the climax of that cycle. A third example would be, say, a party or event of some sort. It can take months to plan, but when the day comes and the ceremony takes place, that is the climax of that cycle.
As a musician plays various phrases in any given piece of music, they reach various climaxes. This actually varies from player to player and is perhaps one of the most distinguishing factors of a musician. Since music is not just a mechanical action and involves sense and feeling, including emotion, determining the climax and bringing it out is more of a human element than a “mechanical only” element. Therefore, it is an essential aspect for musical performances of any kind. Unfortunately, however, it is too often neglected, resulting in mostly mechanical “performances” that impart no meaning to the listener, thus violating the very principle of music!
How, then, can a musician remedy or improve this? There are two moves one can make that will help get a feel for this. They are not just theoretical, but involve real practical actions. Try it whether you are a musician or not. First, turn your hand so that your palm is facing up and make a fist. While listening to a performance phrase, gradually and slowly open your hand, extend it until you perceive the climax in that phrase, wherever you personally perceive the climax to be. His hand should be wide open and you should see his palm when the climax occurs. Then gradually close your hand into a fist again as the cycle of that phrase ends after its climax. Repeat this action with the same phrase, over and over again, until your movement is in sync with that climax cycle. Try this with other phrases as well until you feel you can do it easily.
The other movement is called “like a fountain”. To do this move, first stand up. Take a prayer and, while listening to it, gradually and slowly raise your arms above your head, like a fountain. Your arms should be extended toward the ceiling when you feel climax. Then drop your arms loosely, thus concluding the embodiment of that phrase cycle. Again, repeat this action with the same phrase, over and over again, until your movement is in sync with the climax of that piece. Try this with other phrases as well.
By doing these two movements (especially the “fountain”), you will actually achieve a greater awareness of climax and, if you are a musician, this will be a marked improvement in your own ability to act both emotionally and emotionally. Technically, it doesn’t matter what level you have. Keep in mind that you will only fully understand this by PERFORMING these moves, not just hearing about them. This is very crucial. For example, you can explain all you want what an apple tastes like to you, but if you’ve never eaten one, you’ll never really understand the taste. Well, the same philosophy applies here. It is so important for one to actually DO this.
This is all part of a philosophy known as “education in motion” or “body in action,” developed by Dr. Alexandra Pierce, professor emeritus at the University of Redlands, with whom I studied. Movement education embodies the various aspects of music (such as phrasing) in a physical and kinetic way away from the instrument. The results are a much more meaningful performance, as the music becomes much more sensational, using the whole of existence and not just one sense, the ear.