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 tone, but it is the most emphatic in the cycle of a running 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 usually occurs in the middle.
To really understand what a climax loop is, let’s take some non-musical examples. Let’s take laughter, for example. While one is laughing, it reaches a point where the laughter becomes more emphasized, usually followed by some kind of shortness of breath (especially in the case of a deep laugh) 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, which changes 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 kind. 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. In reality, this varies from player to player and is perhaps one of the most distinctive factors in a musician. As music is not just a mechanical action and involves meaning 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 a must-have 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 movements that one can do that will help you get a feel for this. They are not just theoretical, but involve real practical actions. Give it a try whether you are a musician or not. First, turn your hand so that the palm is facing up and make a fist. As you listen to a performance phrase, gradually and slowly open your hand, extend it until you feel the climax in that phrase, wherever you personally perceive the climax to be. His hand should be fully open and you should see his palm when you climax. Then gradually clench your hand into a fist again as that phrase cycle ends after its climax. Repeat this action with the same phrase, over and over, until your movement is in sync with that climax cycle. Try this with other phrases as well until you feel like 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 the climax. Then drop your arms loosely, thus concluding the incarnation 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 sentences as well.
By doing these two moves (especially the “source” one), you will actually reach a greater awareness of the climax and, if you are a musician, this will be a marked improvement in your own ability to perform both emotionally and emotionally. Technically, it doesn’t matter what level you are. 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 to 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, a 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, kinetic form away from the instrument. The results are a much more meaningful interpretation, as the music becomes much more sensational, using the whole of existence and not just one sense, the ear.
