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Thinking Big, Possibly Too Big?

9/25/2023

Some hymn arrangements were definitely written for large choirs. For example, think of a piece that has the 1st Soprano section holding a note high above the Treble staff for 8 measures at the end while the orchestra does the play out big finish. Yeah, well that doesn't exactly work well for a small 12-15 voice Ward choir with only a piano for accompaniment.

And what about the arrangements that start out pretty straight forward, possibly in unison for the first verse, then suddenly split into 4-part Men or 8-part full choir. That doesn't work so well for a group with only 4 Basses, 1 Tenor, 5 altos, and 2 Sopranos.

Sometimes even with a "bigger" group, or a small group with "bigger" voices, the balance just doesn't work out right. Sure those pieces that are performed so well by the Tabernacle Choir or a fine College Choir seem fun to pull out for a Ward or Stake group. But should you? Really?

There is quite a temptation to think big when planning for a special event such as Stake Conference or Christmas. A choir director who knows there are some great voices in her ward or stake might feel that "certainly, if I choose some grand choral works I will attract those singers to come." Realistically, though, people have issues in their lives that sometimes make it impossible for them to support even the most worthy projects.

And even if some of those good singers say they will come up from the audience just for the performance (because they already know the song or they can sight-read well), they don't really contribute to helping the group be cohesive. Plus, there is merit in having those good singers at rehearsals to help the stalwart singers feel more confident.

My advice is to make sure you have the SUPPORT you need before you choose the music. Once you reasonably can judge your REHEARSAL attendance you can responsibly select music to suit your group.

As an audience member, I would much rather hear a simple hymn or arrangement sung well-blended with the Spirit than hear ambitious music done poorly.

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The Girl from No Where Who Went Everywhere

9/13/2023

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Recently my cousin called me with an idea. She said that our grandchildren in the extended Thompson family needed something to help them learn about our famous aunt Janie Thompson and all the good things she did and stood for. She said that I should write a picture book about Janie and get it ready to give as gifts for Christmas.

So, I have been doing my best to get started. But, where do you start to tell a person's story that is larger than life? And how do you make it appealing for young children? I decided that it needed to be told from a child's perspective. Then it dawned on me that I was that child. Janie had me singing on her shows from the tender age of 4. I just happened to be around to observe many of the important events of her life. I even lived with her through my college years and got to hear her stories over and over. But which stories do I include?

For such a glamorous lady, her beginnings were quite humble. Jane Thompson, "Janie," as she was later called, was born into a musical family sent to settle in a remote part of southern Idaho. These were people with no farming or ranching experience, but heeded the call to settle the far corners of the West. Janie's parents had a ranch, but found that their abilities were better suited to running the local Post Office. Grandma Lora was a celebrated operatic soprano who had entertained VIP's from all over the world and was a soloist with the Mormon Tabernacle Choir. Grandpa J. Henry was a basso profundo. Together they passed on their love of music and created an artistic haven amidst the tumbleweeds of Malta, Idaho.

Janie loved playing the piano and singing and dancing. Grandma Lora used Janie's natural gifts to help her direct shows with the children in town. Grandma had the vision, and young Janie provided the model for the children to follow. Janie grew up knowing that she had God-given talents. Her parents made sure she knew that "where much is given, much is expected." She lived her life by that motto and always said that the best way to show gratitude for God's gifts was to magnify them.

Janie went on to hone her gifts for pop singing and playing the piano and decided to audition for the USO just after WWII. She had the opportunity of touring and entertaining servicemen over-seas. Later she sang with Ike Carpenter's big band and the young Tony Bennett. He was the crooner and she was the "Red Hot Mama."

Janie would have been happy continuing on in this show business career, but she felt the need to serve a mission for the LDS Church (in Wales). Later she hoped to rejoin the Ike Carpenter Band as she was invited to do, but accepted a position at BYU instead. While at Brigham Young University, she developed the talents of the students in the Program Bureau.

She used her contacts in the US Defense Department to sponsor the BYU student show groups that toured all over the world. Her groups were the first college groups to go to the Far East and China, India, Russia, Africa, South America, and the Holy Land besides the many European and State-side destinations already open to show groups. In her time at BYU, Janie took tours to every Continent (excluding Antarctica) and nearly every country in the world. Janie's special gifts were to help others develop their talents. She influenced many people for good and even launched many careers.

In her later years, Janie found herself in great demand once again as an entertainer. She decided to write herself special material to perform. Janie's signature song was "I've Been Everywhere, Man" (the Johnny Cash favorite) but adapted for her own use. She wrote eight additional verses that told of her travels all around the world.

My sister kindly suggested that the title of the story book should be "The Girl from No Where Who Went Everywhere" because she really had!

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Being "Cringe"

9/6/2023

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As an older person, I understand the definition of "cringe" to be a verb meaning to hang your head in embarrassment for a person who does something socially awkward. Apparently, being "cringe" has a new life as a noun in today's vernacular.

In the US, "cringe" is an informal verb that refers to the feeling of embarrassment, discomfort or awkwardness that someone might experience when watching or participating in something that is considered socially awkward, embarrassing or uncomfortable. It can also be used as a noun to refer to something that causes that feeling.

When music teachers complain that their students, particularly the elementary school 11-12 year old boys, call the teacher "cringe" or the music or activity "cringe," that is alarming. Understandably, the boys in that age-range have a hard time still singing in the Treble clef. They don't want to sound like girls, although most boys don't drop the octave until they are teenagers. But they should have opportunities and examples to help them work through that awkward time.

For 4th-5th grade Chorus class, I found it useful to do 2-part pieces that lean toward having a certified "Bass" part. In other words, rather than being built exclusively following 3rds under the Soprano melody, the Part 2 dances between the Tonic and Dominant with a lot of contrary motion more akin to how the lowest choral part in the Bass Clef is written. I even tell the boys that this is a Bass part. That usually secures their interest in singing it. (We sometimes take a vote as to whether we will even allow any "alto" girl voices to sing it, too.)

Once we establish that singing that part is cool, we don't have nearly the attitude issues with it being "cringe."

An example of this is "Jingle Bells" for 2-Part Children's Chorus.

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Thinking Big, Possibly Too Big?

The Girl from No Where Who Went Everywhere

Being "Cringe"

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