Readings for the week can be found here, and we will be using this psalm setting.
Music at masses will be the same at St George's and All Saints this week. The Kyrie will be sung to the setting Orbis Factor in the Kyriale, along with a Gloria from Taize which is rapidly becoming a firm parish favourite.
Hymns are as follows:
Introit: Come, dearest Lord, descend and dwell [443]
Sequence: Forgive our sins as we forgive [635, tune Kilmarnock 577]
Offertory: Stand up, stand up for Jesus [592]
Communion: Bread is blessed and broken [707]
31 August 2011
30 August 2011
Pitch memory
I wonder how many choir directors find it challenging to get their choirs to sing in tune right from the start of a rehearsal. A quick survey of YouTube will quickly reveal the number of amateur choirs where the home pitch can get a bit fuzzy towards the middle of a piece, especially where the piece has any extended periods of modulation.
During my training I sang in many choirs where the directors gave a lot of attention to singing in tune, often a futile effort because the choristers hadn't been taught the basics of pitch memory. I remember one incident where an accompanied piece had a long middle section where the organ was marked tacet. The organ duly went silent, the choir made a wonderful impression, only to find they'd gone a minor third sharp when a massive organ chord crashed in to introduce the next section. This had been a recurrent problem in rehearsals, and the most the director had done to address the problem was to berate his singers for not listening more carefully before practicing it with and without accompaniment. He got his comeuppance: the performance was a dreadful mess. I've seen many snarky looks in mirrors in my time, but that director wore a particularly pained expression on the day.
Of all the skills a choir director can cultivate among his or her singers, pitch memory is valuable and saves much angst down the road. It is a process that takes time, and it's surprising how few choir directors seem to connect difficulties with wandering pitch with failure to teach pitch memory.
I teach pitch memory using a very simple method. You need a whiteboard, markers in a variety of colours and a heavy-duty eraser. This is vital, because the method for teaching pitch memory rests on connecting the note on the stave to how it feels to produce it.
My choral warm up includes stretching, making sirens, breathing exercises, and any other technique-based items as needed. None of this involves an absolute pitch, as it is about freeing up the sound and getting the choristers ready for the rest of the hour. The very last thing in my warm up is writing up a G on the treble clef on the whiteboard.
It takes about three weeks before this becomes an accepted part of the game. Then children (and adults!) can get pretty competitive about who can get closest to the note. After a month or two the whole group will be starting to reliably sing the note accurately on the first attempt.
After establishing a definite pitch, you can work on sight-reading drills, solfege, scales, or any other pitch-based exercises you want to include. These exercises need to reinforce the chorister's sense of pitch, and give them confidence that they can continue to sing in tune for the remainder of the rehearsal.
One of the positive flow-on effects of this exercise is that it improves the director's own sense of pitch. Up to the point of writing the note on the board, the piano has lain silent. The first thing you do with it is to check the pitch: if you're quick, you'll soon figure out what A flat or F sharp sounds like, so you can play the note the choristers sang and lead them back to the intended pitch. You can even write the different pitch on the board in red or green (assuming you used black at first), which will reinforce the connection between the other sound and its written symbol.
There are other aspects of director behaviour that affect pitch and tuning. Posture and conducting gesture has to be given careful consideration when dealing with choirs that have endemic pitch problems. If you are not relaxed and comfortable about the occasional failure, that will metastatize into a wider range of problems if your standard response is to get angry with your singers. But most of all, lacking routines that involve achieving unanimity in pitch is a widespread problem that most choir directors would do well to address.
During my training I sang in many choirs where the directors gave a lot of attention to singing in tune, often a futile effort because the choristers hadn't been taught the basics of pitch memory. I remember one incident where an accompanied piece had a long middle section where the organ was marked tacet. The organ duly went silent, the choir made a wonderful impression, only to find they'd gone a minor third sharp when a massive organ chord crashed in to introduce the next section. This had been a recurrent problem in rehearsals, and the most the director had done to address the problem was to berate his singers for not listening more carefully before practicing it with and without accompaniment. He got his comeuppance: the performance was a dreadful mess. I've seen many snarky looks in mirrors in my time, but that director wore a particularly pained expression on the day.
Of all the skills a choir director can cultivate among his or her singers, pitch memory is valuable and saves much angst down the road. It is a process that takes time, and it's surprising how few choir directors seem to connect difficulties with wandering pitch with failure to teach pitch memory.
I teach pitch memory using a very simple method. You need a whiteboard, markers in a variety of colours and a heavy-duty eraser. This is vital, because the method for teaching pitch memory rests on connecting the note on the stave to how it feels to produce it.
My choral warm up includes stretching, making sirens, breathing exercises, and any other technique-based items as needed. None of this involves an absolute pitch, as it is about freeing up the sound and getting the choristers ready for the rest of the hour. The very last thing in my warm up is writing up a G on the treble clef on the whiteboard.
It takes about three weeks before this becomes an accepted part of the game. Then children (and adults!) can get pretty competitive about who can get closest to the note. After a month or two the whole group will be starting to reliably sing the note accurately on the first attempt.
After establishing a definite pitch, you can work on sight-reading drills, solfege, scales, or any other pitch-based exercises you want to include. These exercises need to reinforce the chorister's sense of pitch, and give them confidence that they can continue to sing in tune for the remainder of the rehearsal.
One of the positive flow-on effects of this exercise is that it improves the director's own sense of pitch. Up to the point of writing the note on the board, the piano has lain silent. The first thing you do with it is to check the pitch: if you're quick, you'll soon figure out what A flat or F sharp sounds like, so you can play the note the choristers sang and lead them back to the intended pitch. You can even write the different pitch on the board in red or green (assuming you used black at first), which will reinforce the connection between the other sound and its written symbol.
There are other aspects of director behaviour that affect pitch and tuning. Posture and conducting gesture has to be given careful consideration when dealing with choirs that have endemic pitch problems. If you are not relaxed and comfortable about the occasional failure, that will metastatize into a wider range of problems if your standard response is to get angry with your singers. But most of all, lacking routines that involve achieving unanimity in pitch is a widespread problem that most choir directors would do well to address.
29 August 2011
City and Suburbs
The combination of searching for a house and visiting schools for voice trials has raised a couple of cultural observations about Melbourne.
Decent and interesting-looking cafes seem to stop popping up once you pass the ends of tram lines. I would suggest that that's one of the markers for where the city becomes the suburbs.
Looking beyond the trams, along the various train lines there are usually small local shopping strips. Real estate advertising would have you believe that these places are trendy, bustling and generally desirable places to live close to. The reality is quite the opposite.
The vitality of shopping in the suburbs is found either in small pockets of local shops where the local council and business owners have obviously made the effort to pursue policies to make these places interesting, or in large malls. The latter have the advantage of being able to amass a large amount of specialty retail alongside supermarkets and budget stores. This comes at the expense of herding customers into a soulless round of halls, usually through soul-destroying parking lots. Malls really seem to reduce consumerism down to the essentials of a compulsive fetish.
For me, the measure of any shopping area is whether the place seems to have vitality. Coffee is the acid test. As a confirmed long black drinker, it is a sure sign that things are pretty bad when it comes with more water than coffee. In the city you get the taste of the coffee; in the suburbs you're lucky if the poor barista even knows that the coffee is the point.
Decent and interesting-looking cafes seem to stop popping up once you pass the ends of tram lines. I would suggest that that's one of the markers for where the city becomes the suburbs.
Looking beyond the trams, along the various train lines there are usually small local shopping strips. Real estate advertising would have you believe that these places are trendy, bustling and generally desirable places to live close to. The reality is quite the opposite.
The vitality of shopping in the suburbs is found either in small pockets of local shops where the local council and business owners have obviously made the effort to pursue policies to make these places interesting, or in large malls. The latter have the advantage of being able to amass a large amount of specialty retail alongside supermarkets and budget stores. This comes at the expense of herding customers into a soulless round of halls, usually through soul-destroying parking lots. Malls really seem to reduce consumerism down to the essentials of a compulsive fetish.
For me, the measure of any shopping area is whether the place seems to have vitality. Coffee is the acid test. As a confirmed long black drinker, it is a sure sign that things are pretty bad when it comes with more water than coffee. In the city you get the taste of the coffee; in the suburbs you're lucky if the poor barista even knows that the coffee is the point.
27 August 2011
Searching pains
I've been having something of a period of abstinence from buying books. The reason for this is that as soon as it arrives on my desk, it would rapidly disappear into a box.
Searching for a place to live can be a perplexing activity. There are positives and negatives. On the positive side, it gives one an opportunity to clear out cupboards, have a cull of the wardrobe (a local op-shop is going to do very well out of me), sort out books, and generally find out how much stuff one really has. On the negative side, well, there's lots of things that come to mind: camping out in a house that is increasingly crowded with boxes, being unable to pass a real estate agent without compulsively picking up a rental list, wasting every spare moment trawling real estate websites, endless form-filling, lack of follow-up from property managers, finding places that fit all the criteria, applying and then discovering it's been let the day after your application was received. There's much more, but anyone who's ever moved house will know what I'm talking about.
My criteria for a house have been quite easy. Somewhere near transport links (preferably train and tram), easy access to bicycle trails, gas cooking, building in decent order, and at least one room larger than the present place. I stopped looking at apartments when I realized that moving into the northern suburbs might allow a house within the current budget. That would bring a bit of space in which to grow vegetables, and not having to worry about disturbing the neighbours with the sounds of practicing would be a distinct bonus. Apartment-dwelling has lost much of its romance since the yodelling sadist moved in upstairs and decided that anytime is practice time (even 3.00am a couple of times).
Today's crop of inspections was an incredibly mixed bag. Out of about twelve, all chosen from internet advertisements, three were totally unacceptable either because the state of the building had been actively misrepresented, or the advertising had lacked photographs, or a cosmetic renovation hadn't done anything to address the basic problems in the structure. A further building was so riddled with damp that I turned around and walked out as soon as I smelt the passageway. A couple were superb, but well out of range of transport links. One was absolutely stunning, but had an awkward layout. Several were clearly deceased estates.
In almost every case we met a property manager who bemoaned how slow the market is in the area. They could have fooled us: at least two applications have been knocked back last week.
Searching for a place to live can be a perplexing activity. There are positives and negatives. On the positive side, it gives one an opportunity to clear out cupboards, have a cull of the wardrobe (a local op-shop is going to do very well out of me), sort out books, and generally find out how much stuff one really has. On the negative side, well, there's lots of things that come to mind: camping out in a house that is increasingly crowded with boxes, being unable to pass a real estate agent without compulsively picking up a rental list, wasting every spare moment trawling real estate websites, endless form-filling, lack of follow-up from property managers, finding places that fit all the criteria, applying and then discovering it's been let the day after your application was received. There's much more, but anyone who's ever moved house will know what I'm talking about.
My criteria for a house have been quite easy. Somewhere near transport links (preferably train and tram), easy access to bicycle trails, gas cooking, building in decent order, and at least one room larger than the present place. I stopped looking at apartments when I realized that moving into the northern suburbs might allow a house within the current budget. That would bring a bit of space in which to grow vegetables, and not having to worry about disturbing the neighbours with the sounds of practicing would be a distinct bonus. Apartment-dwelling has lost much of its romance since the yodelling sadist moved in upstairs and decided that anytime is practice time (even 3.00am a couple of times).
Today's crop of inspections was an incredibly mixed bag. Out of about twelve, all chosen from internet advertisements, three were totally unacceptable either because the state of the building had been actively misrepresented, or the advertising had lacked photographs, or a cosmetic renovation hadn't done anything to address the basic problems in the structure. A further building was so riddled with damp that I turned around and walked out as soon as I smelt the passageway. A couple were superb, but well out of range of transport links. One was absolutely stunning, but had an awkward layout. Several were clearly deceased estates.
In almost every case we met a property manager who bemoaned how slow the market is in the area. They could have fooled us: at least two applications have been knocked back last week.
24 August 2011
Music for Sunday 28 August 2011
Readings for the week can be found here, and the psalm will be sung to Anglican chant.
Depending on where you go, the service setting will differ slightly. At All Saints we will be singing the Kyrie Orbis Factor, a Gloria from Taize, and the rest from Philip Mathias's Christ Church Mass (Together in Song, 757). At St George's, it will simply be Mathias.
Hymns are as follows:
Introit: Lord, your word abiding [427]
Sequence: 'Take up your cross,' the Saviour said [583]
Offertory: Be still, my soul [123]
Communion: O Jesus, I have promised [595]
Depending on where you go, the service setting will differ slightly. At All Saints we will be singing the Kyrie Orbis Factor, a Gloria from Taize, and the rest from Philip Mathias's Christ Church Mass (Together in Song, 757). At St George's, it will simply be Mathias.
Hymns are as follows:
Introit: Lord, your word abiding [427]
Sequence: 'Take up your cross,' the Saviour said [583]
Offertory: Be still, my soul [123]
Communion: O Jesus, I have promised [595]
21 August 2011
One year on
On 21 August 2010, I voted in the general election. That didn't go so well for the government -- although the leader of the opposition seems to have got on well enough in spite of not having yet toppled anyone.
The other thing that happened on 21 August 2010 was a rather nice academic party. I got to wear a fancy bonnet for the first time.
The other thing that happened on 21 August 2010 was a rather nice academic party. I got to wear a fancy bonnet for the first time.
17 August 2011
Music for Sunday 21 August 2011
Readings for the week can be found here, following the Catholic options. We're using a home-made setting of the psalm.
Depending on where you go, the service music will be slightly different.
Last week we used a setting of the Gloria from Taize. That went smashingly well, so at All Saint's we'll be repeating that with the Kyrie from Colin Smith's Mass Shalom, taking the rest from Philip Matthias's Christ Church Mass (Together in Song, 757).
If you land up at St George's you'll get Matthias all through.
Hymns will be as follows:
Introit: King of glory, king of peace [201]
Sequence: Firmly I believe and truly [140]
Offertory: God of grace and God of glory [611, tune 520]
Communion: Soul of my Saviour [502]
Depending on where you go, the service music will be slightly different.
Last week we used a setting of the Gloria from Taize. That went smashingly well, so at All Saint's we'll be repeating that with the Kyrie from Colin Smith's Mass Shalom, taking the rest from Philip Matthias's Christ Church Mass (Together in Song, 757).
If you land up at St George's you'll get Matthias all through.
Hymns will be as follows:
Introit: King of glory, king of peace [201]
Sequence: Firmly I believe and truly [140]
Offertory: God of grace and God of glory [611, tune 520]
Communion: Soul of my Saviour [502]
16 August 2011
Bloggish neglectfulness
Postings have been a bit light on lately. There are a couple of reasons for this hearty neglect of the blog.
I've had two very debilitating bouts of the 'flu. It seemed a couple of weeks ago that things were getting back to normal, then I woke up feeling a bit congested last week and the rest was history. It is almost unheard of for me to retreat to my bed during the day, but it's now happened twice in recent weeks.
When not confined to the sick bay, I've been traveling the countryside on a recruitment contract. For three days of the last few weeks I've found myself hearing the national anthem more times in one day than the Prime Minister herself would be expected to endure in a whole year. I can say with great certainty that the quality of singing in the state's primary schools is very patchy. Which is what you'd expect, given the generally poor state of music education and the rather intriguing attitude towards singing you often encounter in schools.
I also have a regular round of work commitments that have had to be squeezed in around the traveling work. In the last month I've completed an essay for publication, and started sketching out ideas for an article I've been wanting to write for a while. This is going to have to wait a little while longer, as I will be moving house in the next month or so, my gracious landlords having intimated their intention to renovate my digs.
One of the joys of moving house is that it allows an opportunity to sort through books and other things. My shelves have been organized rather randomly for a while, so as I pack the books up there is a preliminary process of categorizing going on. At the other end -- with any luck -- it will be possible to be clearer on where things go, so that they can be found again. In a perverse way, I'm actually looking forward to clearing the shelves, emptying the cupboards, and jettisoning stuff from boxes I haven't opened since the year 2000.
None of this is to say I've run out of puff for things to write here. Quite the contrary. Since the beginning of the year I've had a series of posts planned on a variety of topics, including speeches at funerals, more explorations of the quiet corners of the organ world, and much else. The challenge is finding time to get the writing done so that it can be posted here with confidence of it being useful to someone.
I've had two very debilitating bouts of the 'flu. It seemed a couple of weeks ago that things were getting back to normal, then I woke up feeling a bit congested last week and the rest was history. It is almost unheard of for me to retreat to my bed during the day, but it's now happened twice in recent weeks.
When not confined to the sick bay, I've been traveling the countryside on a recruitment contract. For three days of the last few weeks I've found myself hearing the national anthem more times in one day than the Prime Minister herself would be expected to endure in a whole year. I can say with great certainty that the quality of singing in the state's primary schools is very patchy. Which is what you'd expect, given the generally poor state of music education and the rather intriguing attitude towards singing you often encounter in schools.
I also have a regular round of work commitments that have had to be squeezed in around the traveling work. In the last month I've completed an essay for publication, and started sketching out ideas for an article I've been wanting to write for a while. This is going to have to wait a little while longer, as I will be moving house in the next month or so, my gracious landlords having intimated their intention to renovate my digs.
One of the joys of moving house is that it allows an opportunity to sort through books and other things. My shelves have been organized rather randomly for a while, so as I pack the books up there is a preliminary process of categorizing going on. At the other end -- with any luck -- it will be possible to be clearer on where things go, so that they can be found again. In a perverse way, I'm actually looking forward to clearing the shelves, emptying the cupboards, and jettisoning stuff from boxes I haven't opened since the year 2000.
None of this is to say I've run out of puff for things to write here. Quite the contrary. Since the beginning of the year I've had a series of posts planned on a variety of topics, including speeches at funerals, more explorations of the quiet corners of the organ world, and much else. The challenge is finding time to get the writing done so that it can be posted here with confidence of it being useful to someone.
10 August 2011
Music for Sunday 14 August 2011
This week the parish is keeping the feast of the Assumption, which is the feast of title for one of the three churches. Mass will be held at 9.30am at St Mary's, East Preston.
Choir rehearsal will be held in the church, starting at 8.50am.
Readings for the week can be found here, and we will be using this psalm setting.
The service will be sung to a medley of settings. The Kyrie will be from Colin Smith's Mass Shalom, and the Gloria and Agnus Dei from a Taize setting. The rest will be Philip Mathias's Christ Church Mass [Together in Song, 757].
Hymns are as follows:
Introit: Ye watchers and ye holy ones [150]
Sequence: Tell out, my soul, the greatness of the Lord [161]
Offertory: Sing we of the Blessed Mother
Communion: Lord Jesus Christ, you have come to us [526]
Choir rehearsal will be held in the church, starting at 8.50am.
Readings for the week can be found here, and we will be using this psalm setting.
The service will be sung to a medley of settings. The Kyrie will be from Colin Smith's Mass Shalom, and the Gloria and Agnus Dei from a Taize setting. The rest will be Philip Mathias's Christ Church Mass [Together in Song, 757].
Hymns are as follows:
Introit: Ye watchers and ye holy ones [150]
Sequence: Tell out, my soul, the greatness of the Lord [161]
Offertory: Sing we of the Blessed Mother
Communion: Lord Jesus Christ, you have come to us [526]
06 August 2011
03 August 2011
Music for Sunday 7 August 2011
Readings for the week can be found here, following the Roman options. The psalm will be sung to Anglican chant.
The service setting will be Philip Mathias's Christ Church Mass (Together in Song, 757), with the Kyries from Colin Smith's Mass Shalom.
Hymns are as follows:
Introit: Master, speak, thy servant heareth [597]
Sequence: I sing the almighty power of God [119]
Offertory: Dear Father, Lord of humankind [598]
Communion: Be still, my soul [Taize]
The service setting will be Philip Mathias's Christ Church Mass (Together in Song, 757), with the Kyries from Colin Smith's Mass Shalom.
Hymns are as follows:
Introit: Master, speak, thy servant heareth [597]
Sequence: I sing the almighty power of God [119]
Offertory: Dear Father, Lord of humankind [598]
Communion: Be still, my soul [Taize]
01 August 2011
Subscribe to:
Posts (Atom)