To understand attitude better, think of the following scenario. There are different attitudes of course for different audiences and different genres of writing, but the goal is always to express that one best attitude in every piece you write, Musicality must have attitude. Most writers spend a lot of time seeking the right attitude for a piece of writing. A writer wants to communicate some part of himself or herself to an audience. That attitude is the soul of the writing. Everything we write has its own special attitude. To explain what happens a bit more precisely, think of attitude. If you've ever read a passage in a letter or a research paper, a proposal or brochure, or a novel that you found really stayed with you, you've probably experienced musicality. That pattern is based on the words you choose and how you combine them to create your personal writing melody.Įvery piece of writing has a rhythm and its own particular beat. It is seeking out and recognizing the unique sound patterns that you alone can produce on paper.
Musicality who you are software#
Producing musicality in writing is similar in many ways to what a composer, a painter, a software programmer, or a designer does. Musicality is your unique image, but it's an image that appears in print instead of as a picture or an item you buy. Musicality is your communication brand-who you are as a writer. What is musicality in writing anyway? Is it special words or phrasing? Is it rhythm or a particular beat? Is it a special combination of sentences? Is it the varied patterns of your words? It's all of these and more. You need to add musicality to your writing. If you want to stand out in written communication, you need to take another important step. It's an image of who you are and, more importantly, how you communicate. Then, close to the song's end, I get myself together, providing a relaxing moment for my partner, and "chan-chan!", the end of the song, sometimes as a grand finale, sometimes as a subtle "tan-go-close" ending.Every time you put pen to paper or fingers to the keyboard, you are delivering an image to the world.
I'll make a longer pause to prepare for something else, a more complex choreographic idea perhaps. What I do have is a structure: first I need to offer and find a connection with my partner then I have to sense myself in this couple, in this milonga, in this tanda, in this song, at this moment as I start to move, I need to pay careful attention to my partner and our connection I will deliver my repertoire of moves gradually, starting with simplicity, breathing, often pausing to access the state of my partner, myself, and our connection as a couple, all in a bodily way, without saying anything then, when I consider it appropriate, I may take some more risk, to open the game, to make it exciting, alive, playful and joyful that's it! I then restrain myself not to get carried away by my emotions. When I dance, I do not have a precise choreography in mind.
The orchestra is there to be the frame of the work of art, which is my dance.
I interpret this as follows: I am like a soloist playing a stellar role in the orchestra. Instead, he tells me that I should act like the singer, expressing myself with the orchestra behind me as a backdrop to my performance. In our lessons, he tells me not to obey the orchestra.
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