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Our Story as Told by a 5-Year-Old

3/18/2020

Angel Moroni statue lost trumpet in earthquake.

"And then we had to stay home from school because of this thing called a Corona virus....and we didn't get to go on vacation or go over to a friend's house or anything! The store shelves were empty....and then there was this EARTHQUAKE.....and lots of rain and even SNOW --- and so, Teacher, that's why I couldn't turn in my homework!"

If I had heard what we have been going through for the past few weeks, I would have thought it was some fantastic story told by one of my grandchildren. But, no! It's absolutely true --- even the part about not being able to turn in homework. School has been sort of cancelled and now the kids will start doing school work at home curtesy of the Internet.

Couldn't help think about those passages in Isaiah 24 though, that talk about the "lean-ness" and "the earth reeling to and fro." That's exactly what we are going through right now. The Last Days certainly seem upon us. We just don't know how long this season is going to last.

A 5.7 magnitude earthquake did shake us in northern Utah just after 7:00 am, today, Wednesday March 18th. We as a family were in some pretty powerful earthquakes in California, but I personally have never felt one this strong in Utah before. I was sitting at the piano working on composing a new piano duet. Suddenly the room felt like a very strange strong wind was beating against the walls. Then the floor started rolling and pitching. I stopped playing, grabbed hold of the piano bench and literally rode out the earthquake. Fortunately, everybody in the family seems to be all right.

I will probably always remember writing this new arrangement of "Hope of Israel" because of the earthquake. I was already doing my "Social Distancing" from people and staying mostly at home, and had decided to write some new music. I woke up Sunday with "Come Follow Me" in my mind. Finished that one up on Monday. Tuesday, I had "Hope of Israel" on the brain. That's the arrangement I was finishing up this morning when the earthquake shook things up. My plan is to create a set of four to five EASY Piano Duets of Hymns for Student and Teacher. (Easy is a relative term. The Primo part is fairly easy although I refuse to keep to one of the standard hand positions! ) You might say, I plan on SHAKING THINGS UP, too! So get ready to play in some unusual keys for beginners. Nothing to get scared of....just a new hand and finger position. It'll be fun!

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Friday, the 13th

3/13/2020

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In our family, Friday the 13th has always been considered a lucky day. My husband was born on a Friday the 13th. My first child was born on a Friday the 13th. In fact, the nurses were amazed that his birth date and his birth weight were the same --- 7/13 and 7 lbs 13 oz. That son grew up to fall in love with a woman who was also born on a Friday the 13th. They were engaged on a Friday the 13th and later married on a Friday the 13th. Their fist baby was born on a 13th (which sometimes falls on a Friday). Their second baby was born on the 26th, which is a double 13. Their next baby was the 13th grandchild in the extended family. So, Friday the 13th is not an unlucky day for us!

With all of the panic going on about the coronavirus, it seems that many people in this world are just plain superstitious. Seems like a lack of faith to me. It's all about where you put your trust --- in God or man. I choose to follow Christ and the counsel of a living prophet. We are supposed to stay optimistic and do positive things.

So, instead of grumbling about the postponed trips, cruises, classes, activities, concerts, ball games, and so on, we must do our part to minimize risks. Hopefully this will all be temporary. After all, we are helping the health care system not have to deal with an overload of really sick cases brought on by carriers that don't even realize they have been infected.

Okay, so what do we do? Projects in our homes, for the most part. But don't forget to go outside sometimes. I have learned (actually I knew all along) that being outside in the fresh air and sunshine (when it is available) acts as a natural disinfectant. I like to take walks and work in the garden now that Spring is getting closer. Yesterday, the temperatures were warm enough for a little while, so I threw open the doors and windows to air out the house. Felt so good!

Here's a little something to boost your spirits --- a simplified arrangement of an upbeat Beatles tune. You just cannot be sad or grumpy when you hum or play:

"Ob-La-Di-Ob-La-Da Life goes on -- Bra___, La la how the life goes on!"

"Ob-La-Di-Ob-La-Da" Easy Piano solo

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On an Island with Mozart

3/8/2020

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After the opening number, the Timpanogos Symphony Orchestra Conductor announced that the orchestra needed to restructure the stage. He said that for the Mozart piece, the soloist would act as conductor in keeping with how the concerto would have been performed originally. Actually, just a chamber orchestra was left on stage -- strings and two oboes. Then the soloist entered and took his place. The conductor said that we as an audience were in for a real treat, and so we were!

Alexander Woods, concert artist and Professor of Violin at BYU, played and led the orchestra in a brilliant performance of the Mozart Violin Concerto Number 4, a very joyful and uplifting piece.

My friend and I had gone to the concert early enough to get into the pre-concert lecture. Usually the conductor or one of his associates gives background information on the concert music. This time, Alex Woods was taking questions about the Mozart Concerto and his own musical training and career. He also showed us his violin. He explained that it was made in 1743 by a famous violin maker. It had been donated to BYU by a collector and it has been his privilege to play it ever since.

Mr. Woods explained that playing an instrument is like being in a relationship with another human being. You really have to get to know each other to understand how to work well together. He demonstrated by showing how he had to experiment to find just where and how to play on the strings to unlock their unique brilliance and subtleties. "It is humbling to think that I am playing on an instrument that is older than the United States of America -- older by 30 years!" He said that he sometimes thinks of himself as just another "passenger" on this violin's journey on earth. He supposed that it will continue long after he is gone.

He was asked about different styles of music he has played and if he had a favorite. He said that he enjoyed many different styles of music and regularly had opportunities to premiere new works by contemporary composers. But if he was marooned on an island with just his violin and one composer's music, he would have to choose Mozart. Although he enjoys all types of music, many composers write music that is dark or moody or just plain sad. He said that the music of Mozart contains such a wide variety of elements that it is always interesting and uplifting.

"I would choose Mozart because then I would be happy."

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Changing Meters

3/2/2020

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Composers do it all the time -- they like CHANGING METERS within the piece or even within measures. The audience may or may not be aware that the meter has changed, but they usually have some sort of visceral reaction to it. One section of the piece may make the people feel like marching, and the next section may make them feel like swaying. That is the simple change from duple (march) to triple (waltz) meters. Changes in meter may be dramatic or very subtle, but they serve to keep the audience interested in the music.

In early music, before Musical Notation and Form were clearly established, changes between meters were just at the whim of the composer. For example, Gregorian Chant was made up of notes in groups of twos and threes all over the place, usually in stepwise movement. Later on, composers began codifying rules and came up with specific key and time signatures. Composers began exploring FORM and developing frameworks on which to build their compositions.

For example, the SONATA was a work of music with a three-part structure. The basic elements of sonata form are: exposition, development, and recapitulation, in which the musical subject matter is stated, explored or expanded, and restated. There may also be an introduction, usually in slow tempo, and a coda, or tailpiece, thus expanding the FORM to 5 sections. Within this framework, the different sections change the pace and give variety at least by slowing or speeding up the tempo, but sometimes changing the keys or METERS of the different sections as well.

Variety is important in keeping an audience, or even the musicians themselves, engaged in the music. Last week I watched an old Fred Astaire / Ginger Rodgers movie "The Gay Divorcee." This was the first movie where they were intentionally paired and given star billing. But to sweeten the deal (in case they could not carry the show on their own merits), the cast was packed with colorful character actors who already had name recognition.

Although Astaire and Rodgers did dance together ("Night and Day" and a snippet of "The Continental"), they by no means had the lion's share of screen time. (I guess that back in 1934, directors were still trying to figure out a good formula for on-screen production numbers.) Anyway, "The Continental" dance went on and on for at least 15 minutes, maybe longer, with hardly any changes in meter, tonal centers, tempo, orchestration or character. The only variety was provided by who (out of the cast of hundreds) came on in different costumes to dance or sing every 32 bars. I found that it was exhausting to watch! It would have benefitted from at least throwing in a TRIO section in waltz time!

Audiences of our day appreciate VARIETY. Composers have learned to capitalize on the idea that changes in meter can really help keep the music alive for the audience. (Though modern classical composers may go a little too far sometimes by never settling on a set time signature at all.) Even in Sacred Church music, long hymn arrangements can become more interesting by sneaking in a change of meter here and there.

"Sing Praise to Him" arranged by Mack Wilberg offers a delightful look at a Sacred Hymn done with changing meter. The choir sings the traditional hymn in 4/4 first, then takes off in 7/8 meter for the rest of the verses. Very fun!

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The Pregnant Pause

2/26/2020

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The announcer commented that the next piece on the Community Wind Ensemble concert would be a song that everybody would know. They may not recognize it by the title, but the tune would be familiar because it has been played on the radio, used in movies and commercials and even in video games for many, many years. With that introduction, the band began to play a delightful rendition that made splendid use of all the instruments, including fun and entertaining percussion antics. Near the end of the piece, the rhythm gets wild and the melody climbs and climbs until......a sudden pause for effect.

That PREGNANT PAUSE startled the 4 year-old girl sitting in front of our row. She straightened up in her seat and said, "WHAT?" very loudly. Then the band continued playing to the finish. That's what every conductor dreads --- someone ruining the effect of the PREGNANT PAUSE.

First Funicular Railway opening in 1880

"Funiculì, Funiculà" (IPA: [funikuˈli funikuˈla]) is a Neapolitan song composed in 1880 by Luigi Denza to lyrics by Peppino Turco. The song was written for the opening of the first funicular railroad to the top of Mount Vesuvius in Italy. It has been so popular over the years that it has even been mistaken for a Neapolitan FOLK SONG. In other words, composers thought the tune was in PUBLIC DOMAIN, that no one owned rights to use it. One very famous classical composer even got into trouble with copyright infringement laws for using it without permission in a symphonic suite. The copyright limitations have long since passed now, and the song might as well be a FOLK SONG It seems to be freely used for any purpose nowadays, including the arrangement for Wind Ensemble that we heard last night.

Performing a piece that includes a PREGNANT PAUSE is risky business for a community group. The audiences who come to their performances are usually not the seasoned "Patron of the Arts" crowd. They don't always understand concert etiquette. Children and babies are usually admitted as well as the "only so interested" neighbors and family who are there more to support their friends who are performing, than the music.

A friend tells a comical story that happened during a Community Choir's Messiah Sing-Along one Christmas. Two older women in the audience got a little tired of the music and decided to swap pie-making recipes. Probably the most famous of all PREGNANT PAUSES happens near the end of Handel's "Hallelujah Chorus." Apparently, the old ladies couldn't hear each other as the climax of the music got closer and louder. And just as the music stopped suddenly for the Grand Pause, one of the ladies yelled out to her friend,"I make mine with lard!"

Yes, the PREGNANT PAUSE can be effective, mostly when the audience is paying attention. It can also have disastrous consequences. Just as with a pregnancy --- the mother knows the baby will be born, but she doesn't exactly know when it will happen --- the PREGNANT PAUSE is supposed to heighten the expectation of the finish. But sometimes the surprise is on the conductor!

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Sliding or Scooping Up to a Pitch

2/24/2020

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Our ward choir director has big aspirations for us. She likes to challenge us with classical repertoire. We usually have about 25 singers, some very accomplished, but most are just regular folk who happen to like to sing, including some young children. Last Sunday, a lot of regulars were missing due to illness. The few of us in attendance had some big shoes to fill.

Felix Mendelssohn 1809-1847

"He Watching Over Israel" by Felix Mendelssohn is one of the loveliest choral pieces from the Elijah oratorio. It has a lyrical opening statement followed by development and restatement in the other voices. Then comes the exciting fugue section where the the text "shouldst thou walking in grief languish" climbs and climbs. The ending sums up with the opening words again "He watching over Israel slumbers not nor sleeps" reassuring us that God watches over us night and day.

Just because the melodies and words are lovely doesn't mean that they are easy to sing. Each of the voice parts has challenging lines with changes in dynamics and pitches that are difficult to negotiate. Singing this piece in a typical small church choir can be a challenge.

The opening line "He watching over Israel slumbers not not sleeps" has a dramatic jump in pitch for the sopranos (and tenors) in the middle of the line. What is so hard is that the "SLU" in "slumbers" happens on a sudden leap to a high F# sung pianissimo. The conductor pointed out that the singers shouldn't scoop or slide up to that high F#. ("Oh really? Then you try it!" the ladies were muttering under their breaths.)

The problem was that the "S" is an un-pitched consonant. So, it doesn't help to place the pitch immediately. Many singers forget that they have to prepare their thinking, breath management and consonant/vowel placement for the landing in a way that works best in a choral situation. Unfortunately, they allowed the "SL" to slide or scoop up to the pitch before they landed on the vowel. They were very out of tune as a section as well.

What was explained to the soprano section was that they needed to get through the "S" first consonant quickly and on to the second consonant. The un-pitched "S" cannot help, but the following "L" is a pitched consonant and can serve to lock in the pitch before opening into the "U" vowel on "slumbers." (It takes thought and preparation to manage it though!)

That explanation quickly cleared up the matter. (Yay! Too bad there are so many other issues we need to tackle in that piece! We need our regulars back!)

* * * * * * * * *
So fun to see so many faces I love and remember in this Tabernacle Choir clip of "He Watching Over Israel." If you look quickly in the opening pass over the soprano section, you will even see me!

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Following a Take-Charge Conductor

2/15/2020

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Some personalities you just don't want to contradict. They come across with such a take-charge demeanor that you cannot help but follow as they lead.

The conductor lady may be small in stature, but she is tall in spirit. I have visited my daughter's ward several times now, and each time, I have been fascinated by this wonderful conductor. She doesn't seem to have had any real formal musical training, and yet she feels and leads the hymn-singing from the heart. The members in this small ward really have no choice but to follow her. They don't dare NOT sing. (I get the impression that she would go after them personally if they looked down in their books too much or just didn't participate.)

Besides, you just never know what she will ask of the singers. Sometimes she signals the accompanist to drop out leaving the singers unaccompanied. Sometimes she indicates that the congregation should all sing the melody. Sometimes she insists on extreme pianissimo or fortissimo to enhance the meaning of the text. (You don't want to be caught singing forte when she just indicated subito piano!) This conductor really cares about the congregation and how they join in the singing. Clearly she wants them ALL to have a unifying and spirit-filled experience singing the hymns.

A music leader who knows what she wants to have happen and isn't afraid to do all she can to make it happen really exemplifies what it takes to be a good conductor. Her enthusiasm is what makes her conducting irresistible. She actually believes that the congregation will follow as she directs. She internalizes the music herself so that she hardly watches the music. She keeps eye contact with people in the congregation and the accompanist. What she doesn't know about formal conducting technique, she makes up for in can-do attitude. And she simply exudes LOVE --- love for the music, love for the message, love for the people, love for the Savior.

What works better than that? People respond to LOVE. They can't help themselves. As a conductor, be that person who loves what you do and transmits that love to your congregation. Engage them in the moment. They won't be able to resist joining you in singing the hymns with enthusiasm.

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Virtuoso Piano Duo

2/14/2020

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From Brahms and Beethoven to pop music by the Beatles and Leonard Cohen, the piano duo of Anderson and Roe performed brilliantly. Their virtuosity was death-defying and so entertaining. Their mastery of piano technique and showmanship was breathtaking. I really enjoyed the performance.

Greg Anderson and Elizabeth Joy Roe started off the program with "Hungarian Dances" by Brahms. Then they played Brahms' Piano Sonata for Two Pianos in F minor, Op. 34b. These pieces were the actual compositions by the great composer. However, the second half of the concert was Anderson and Roe showing off their own composing and interpreting chops as they freely "did their own thing" with Brahms' Hungarian Dance themes as well as pop music from the 20th and 21st centuries. It was rather entertaining to watch these two at the same piano when their parts crossed and it looked like they would get their arms all tied up in knots. Or while playing at separate pianos and they really let loose with scales and arpeggios going up and down the entire length of the pianos. They had such a range from gentle and lyrical pianissimos to grand and athletic fortissimos. They really knew how to exploit the scope of expression on the piano and brought new understanding to me of the piano's percussive possibilities.

One of my favorite pieces was "Let It Be" by the Beatles. They explained in the introduction that they picked up on the Gospel piano style that Paul McCartney originally wrote into the song and expanded it. Wow! Did they ever. They took the melodies and the few chord progressions and indeed expanded those ideas with dueling pianos going to it at full throttle.

The audience was enthusiastic and gave them quite the ovation. The Duo ended up giving three encores including "America" from "West Side Story" by Leonard Bernstein and "What a Wonderful World" made famous by Louis Armstrong. Finally, the audience let them finish the evening and we all went home.

I have to say that I was fascinated with their footwork. There was a little black box gadget on the floor at the left of the piano pedals. It allowed them to use their feet to press a button to turn pages on the computer tablets where they read the music. The Tablets were discreetly placed on top of the keyboards where they were hardly noticeable. I am sure they just used the music to keep them on track in case. It was obvious that they had the music memorized.

Gotta love technology. I definitely need one of those Tablets with the black box foot pedal to turn the pages. So cool! (Just wish it also had magic powers to turn me into a piano virtuoso!)

P.S. They even have scores of their compositions for sale on their web site.

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Impressions of a New Hymn

2/10/2020

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The lyrics were crafted in solid hymn text meter and rhyme scheme. They supported the main theme throughout three verses, though could have used more poetic devices. The melody had some good ideas and some unifying repetition, but it lacked word painting and a general sense of being unique and appealing. The harmonies and voice leading did nothing to help create a definitive mood and they rarely followed standard musicianship practices such as smooth voice leading or engaging chord progression. Unfortunately, this hymn needs revising.

Good hymn writing takes skill and patience. Writing a strong melody that is memorable and matches the lyrics but stays in a tight meter and form is downright difficult. Add to that, creating an underpinning of harmonies with an interesting chord progression (which cannot be too predictable) following all of the Rules of Proper Voice Leading, then the task becomes even harder. And in the end, the hymn just has to be enjoyable to sing. Good hymns are difficult to write.

The hymn mentioned above was submitted for review by a young composer who clearly had some good ideas, but the execution was somewhat immature. It was obvious, looking at the manuscript, that the composer was a pianist. He made some classic mistakes in part writing that pianists don't see as problematic because they are not singers, or at least they don't think to test out their product by attempting to sing each part. Basses really don't like singing awkward jumps of strange intervals. Altos really hate being stuck on E flat for measure after measure. Tenors feel confused if suddenly they don't get their own pitch notated in the score or if their part crosses over the alto or bass notes. And if the melody is not gratifying to sing, you lose the entire Soprano section (or most of the congregation). Sometimes a line is a "garbage part" - meaning that the singers must jump to random notes to fill in the missing harmony with no thought of satisfying melodic movement that makes sense. Good melodic writing and voice-leading are not only acquired skills but take a lot of work and a dose of real talent.

It can be baffling to contemplate why we like what we like and dislike vehemently what doesn't work for our ears or our hearts. Some of our favorite hymns are deceptively simple. The melodies seem like they just always existed because they fit the text so well. The meters, rhythms, rhyme schemes, motives, and word painting all come together so seamlessly that they are always thought of together. And how can a melody so interesting and beautiful be underpinned by just three chords? 'Tis a puzzlement, for sure!

I do hope that the young composer will take more time to study part-writing for SATB Mixed Chorus so that when he revises his hymn, it will work beautifully

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Upstrokes and Downstrokes

1/29/2020

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What exactly is the role of a Church congregational singing conductor? Why do we need someone to wave their arms around when the audience just follows the organ anyway?

Unfortunately, many people have this view that the person who stands up in front of the congregation and waves his arms around serves no real purpose at all. Maybe they have just never sung under the baton of an inspired conductor. Maybe they just never look up at the conductor to take in what they are doing. Maybe they just refuse to sing in any case and check out altogether.

The Church Music Conductor does have a real function. That job is to UNITE the group in singing praises to God. The conductor shares a yoke with the accompanist -- the conductor keeps track of the tempo, dynamics, flow, breathing and interpretation so that the organist can focus on her playing. Ideally, the conductor sets the organist at ease and keeps the congregation working harmoniously together.

How is that done? What are all of those UPSTROKES and DOWNSTROKES about anyway?

The DOWNSTROKES are indication of when the beat happens. Just like tapping your toes or bouncing a ball in time to the music, the downward motion speeds into the ICTUS or the exact instant of the BEAT. Musicians call these downstrokes DOWNBEATS.

But a DOWNBEAT cannot happen unless it comes from a higher position. Rather than letting a ball simply drop, bouncing a ball or swinging a bat or getting ready to jump takes a preparation movement in the opposite direction. The force of the jump or swing or bounce comes from the power in that PREPARATION. That is the same with the UPSTROKES in conducting. Musicians call these UPBEATS or REBOUNDS or CUES or PREPARATORY Beats.

Much information is conveyed in how the UPBEAT is articulated -- the TEMPO, the FEEL, the BREATH, the DYNAMIC. For example, a long UPBEAT (accompanied by powerful hands and a big breath by the conductor) usually cues the congregation to come in singing LOUDLY. A gentle small hand motion (and light breath) on the UPBEAT usually cues the congregation that they are to sing SOFTLY.

For the novice CONDUCTOR, try experimenting with planning your CUES. You will be amazed at what you can do by just varying your UPSTROKES and DOWNSTROKES.

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<<Previous

Our Story as Told by a 5-Year-Old

Friday, the 13th

On an Island with Mozart

Changing Meters

The Pregnant Pause

Sliding or Scooping Up to a Pitch

Following a Take-Charge Conductor

Virtuoso Piano Duo

Impressions of a New Hymn

Upstrokes and Downstrokes

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