Well, if the week coming up doesn’t pass quickly, it won’t be for lack of effort. Between now and 8 days from now, I perform in the equivalent of 6 concerts (4 different, since two repeat), with various rehearsals associated with them (one is a Sunday service, but with six anthems by the choir it starts to resemble a concert, even as we try to keep a spiritual focus on the morning). And I start a new organ student this morning: a choral director with keyboard chops who would like to understand more about the organ, with a focus on registration and its midi extensions. What a great week!

The WomenSing concerts I mentioned in an earlier post take place this week (Dec 4 and 7). My role is relatively minor. I’ve put as much effort into preparing the organ part for the organ/piano piece I wrote for the event as I have for the six pieces I accompany! Christmas Toccata is going well; the pianist and I both enjoy the ensemble.

I was asked a few days ago if I would fill in for one of the UC Berkeley music department’s choral groups on concerts on the 7th and 10th (Charpentier’s Messe de Minuit). It should be fun playing a small continuo organ for the concert.

My church choir has been working quite hard for the last 6 weeks getting ready for Music Sunday (I’m trying to change the name of the event to Choir Sunday, since we have more than one musical group). Where they’ve often done a cantata in place of the sermon, I’m dispersing their pieces throughout the service in a modified Lessons and Carols format. I’m pleased with their progress, and looking forward to the service, coming near the end of my musical marathon.

The last event, while the shortest, is in some ways the most complicated: the children’s Christmas Pageant. The children’s choirs will sing several pieces, two adult soloists and an adult duo will sing, and various individual rehearsals as well as one group rehearsal dot the musical landscape this week in among everything else.

Today’s the calm before the (musical) storm, so I’m trying to get all the details lined up so I’m at the right place at the right time with the right music–hopefully well-rehearsed!

Am I complaining or bragging? Maybe a touch of both, but more just delighted to be involved in such a wonderful span of music-making: accompanying an outstanding women’s group, working with a wonderful pianist, providing continuo for a strong group of university singers, directing an enthusiastic church choir, and working with adults and children, the latter perhaps showing more love of music than expertise:

Talk about a week that’s music to my ears!

Well, if you’re going to borrow a musical idea, who better to do it from than yourself! I like to think that I’m in good company: Mozart, Bach, Handel–LOTS of Handel–and scores (pun intended) of other composers. Mark, who responded to my previous post, got me thinking along those lines–see, he suggested I post more pdfs on my website (address on sidebar); I thought of pdfs I had made recently and came upon a work based on a work based on a work–let’s see if I can explain.

At Lafayette- Orinda Presbyterian Church I had the opportunity to write for a flautist almost every month for a year or so (usually because, although she had been hired, no one had planned what she would play). One month I wrote a set of variations on Balm in Gilead. You’ll find a short description of the piece on my website, along with a link to the pdf of the full piece. The first excerpt I’ve posted here is near the end of the second variation. One of the things I like about this variation is its extremely simple bass line (just two notes, which keep repeating, until–but you’ll have to visit my website for the rest of the story…) with a simple succession of chords in the right hand and a somewhat stream-of-consciousness meditation on the theme in the flute part. It sounds like this.

In the flute and piano variations, the variation that the first excerpt came from represented a period of rest; although it wasn’t long, it had a timeless quality about it, in the sense that it could keep going forever (I think the computer plays it faster than I would–I know; I programmed the tempo; the performer me thinks that the composer me pushes the tempo too much here–talk about being of two minds!). Where was I?

The second excerpt, a transcription of the previous variation, but now for mezzo-soprano, cello and piano, came about when I was setting some wonderful poems by my Aunt Elizabeth. I needed a time of relaxation after a particularly intense text, and happened upon my flute variation. So Gilead came into existence: a wordless song, almost a lullaby, that offers a moment of quiet and healing after the strong emotions of the previous movement. Of the five-movement set of songs (Gilead is number 4), Gilead is the only one to have been performed to date.It sounds like this. The piano part is unchanged; the soprano does the flute part, and the cello either doubles the voice or adds a countermelody.

When my cousin Michael went to Norway for the year, he took another of my pieces, a vocal duet, with him and started teaching it to a choir he is conducting for the year. He wanted me to make some minor adaptations to fit the choir, so I went farther than he asked (not an unusal happenstance) and not only modified that piece, but sent him several other works, including a choral version of Gilead (my third excerpt). If you compare the three excerpts, you’ll notice that each adds a little more complexity, although the piano part remains constant. Much of the choral version still has the two-voice feel of its predecessor version, although there are moments, like right at the end of the excerpt, when voices become more independent. There is still no text, so it is up to the director to find a neutral syllable that works with the choir.This last excerpt sounds like this.

What I found so satisfying is that the connections to previous work actually strengthened the compositional process. It gave me an anchor, something to build from or build toward. I confess that I’ve done this a couple of other times, with similarly successful results–of course, I’m measuring success to some extent personally. Ultimate success for me comes from my audience, and how much they enjoy the music…and how much my performers (I’m often one of them) enjoy their musical experience.

After all, it’s not just music to my ears…

While things have quieted a little from my last post, I’m really enjoying preparing for the upcoming WomenSing concert. There’s nothing like being able to collaborate with an ensemble that’s on top of its game, with an outstanding conductor and piano accompanist. What I’m most enjoying is that the music is challenging enough that I really need to practice every day. I know–I should practice every day anyway; I need a goal or deadline to motivate me–and I am real motivated right now!

Between preparing the organ part of my Christmas Toccata, written for the concert, and becoming more familiar with the various choral accompaniments, including Kirke Mechem’s delightful Seven Joys of Christmas (four movements of which I’m transcribing from piano to organ), I have no trouble filling a substantial practice session each day. It’s gratifying to see that I’m making some progress, as I retain at leasts some benefit from my previous day’s workout.

A challenge that is common for organists is that I don’t get much actual rehearsal time on the instruments I’ll be playing in concert. So one tries to simulate the sound and the physical setup of the concert locations so as to make the best use of the concert hall rehearsal time. The easiest part is learning the notes; the hardest thing is becoming familiar with a strange console.

And in the midst of all this, focusing on my church position with various upcoming Christmas season activities, as well as–just about as regularly as I breathe–working on a new composition.

There’s no shortage of music to my ears…

Things have been nicely busy, both musically and personally, over the last several weeks. I’ve written at least three pieces of music, performed in three concerts, am getting ready for another, and am about to get started on a new composition for my cousin Michael. Beyond that my church position has kept me involved, as I renew acquaintance with familiar organ works and try to regularly add new pieces to my repertoire, and as I work with two musical ensembles that present music in worship each week (and let’s not forget preparations for Christmas, which is just around the corner!).

First things first: a musician’s gotta have some fun, although not everyone would link “golf” and “fun” in the same sentence! I’m playing at Harding Park Golf Course in San Francisco in the morning. It’s a fairly challenging municipal course in a picturesque area near the Pacific coast. Recent activities mentioned in the previous paragraph include:

• Organist in Faure Requiem performed by U.C. Berkeley University Chorus
• Performer in San Francisco AGO (American Guild of Organists) chapter concert with my And they were filled with the Holy Spirit and Mckee Variations
• Organ/piano accompanist of WomenSing in an interfaith concert in Walnut Creek CA
• New compositions include an organ setting of Jesus Loves Me and two works for organ/piano duo: variations on Noel Nouvelet and Christmas Toccata (the latter to be performed on an upcoming concert of WomenSing on December 4 and 7 (I’m providing organ accompaniment on several works as well)

None of that is really sufficient excuse for ignoring my blog, so I’ll try to do better for the rest of the year. I want to look at the pieces I wrote, and offer some comments on writing for organ and piano, as well as the general matter of transcription (my Noel Nouvelet variations were originally written for flute and piano).
I’ll have more commentary soon. Be assured that it’s certainly been music to my ears…

I blinked and October disappeared! We took a week or so with my Dad in his condo in Hawaii (I did get some golf in among the shopping trips for new bedding and various small repairs). It was a good change of pace. But I didn’t write any music, which is almost like saying I decided not to breathe for a while. But music has kept me quite busy, with two active groups at church: between rehearsals, Sunday mornings, putting together practice CDs and leadsheets, and planning for the rest of the year, life was–musically speaking–pleasantly full.

But it’s interesting how the calendar can fill up even more when you’re not looking…

I played a couple of weddings that I’d had on my calendar for a while; then there was that extra memorial service, a couple of extra meetings, and a couple of upcoming organist gigs with an outstanding women’s chorus (WomenSing). And a portion of a concert Monday November 7 sponsored by the San Franciscfo AGO chapter. All of a sudden preparation and practice time start crowding out important things like vegging out, or playing a little golf, or a nice dinner with my spouse (I think we’ll next see each other at the dinner table in five days or so).

Am I complaining or bragging? I’m not sure. It’s nice to be busy, or rather to have busies that others value. I probably didn’t need to say yes this afternoon when I was asked to be a last-minute fill-in for an ailing organist for a performance of Faure’s Requiem on the U.C. Berkeley campus this weekend, but I like the piece, it’s my alma mater, and it doesn’t hurt to improve the bottom line (see how I feel about that in a week or so after this yellow dog Democrat provides cocktail music at a Republican Women’s gathering!) (No, I won’t play Can’t Stop Thinking About Tomorrow–Bill Clinton’s theme song, for those of you who don’t remember or live on the other side of the pond–but it’s tempting!)

All this as a rather lengthy excuse for why time slipped away from me again (thus the title of this post). And yet, in the middle of all that, I found a couple of hours this morning to write a violin and piano piece for Sunday morning–I’ll know in another day if the violinist is intrigued enough/has sufficient practice time to work on it this week. And I may soon be working on a compositional project for my cousin Michael. More about these projects and one other soon–

because it’s all music to my ears…

Just a quick note (thus the title) as we try to finish packing before midnight for a short trip to Kauai: this last Sunday at church was quite satisfying, both because the service came together well and seemed to have meaning and import for many in the congregation and because I had three pieces performed (thus satisfying my composer’s soul ).

[For those not up on their music notation, “breve” refers to a half note, a l’Americaine–the oval with a stem going up or down–in a piece of music fast enough that it’s easier to count half notes than quarter notes–filled-in ovals with stems–but the whole point of the title is that I don’t have any more time–but do read the rest of the note after clicking on the link below.]

The service was built around our contemporary, guitar-based Praise Team. I still wanted some organ presence, so I played a meditative piece that references How Great Thou Art (O Store Gud) for prelude, and wrote a variation of the closing song, Shout to the Lord, for postlude. At the offering, my wife Marianne sang my setting of the ubiquitous Footprints in the Sand poem of greeting card/wall poster/coffee mug/et cetera fame. I provided some background vocals and played piano (a quasi finger-picking style–as much as the piano can handle that particular guitar idiom).

We’re down to the wire, and may soon start intruding on sleep time, as we do our usual last-minute rush to the finish line. We still have 9 hours until we leave for the airport: plenty of time to pack…and at least nap a couple of hours…and although the packing is not my favorite part of the trip, there is plenty else to look forward to that is…

music to my ears.

Yesterday was a very productive day. I completed two new pieces of music. One, an anthem version of the lds hymn Awake, Ye Saints of God, Awake!, I had started the previous evening, writing about half of the piece. I got up early the next morning, put in a couple of hours, and had a finished piece. I’m taking it with me today to see if the organ part works on an organ (it sounds fine through my computer’s speakers, which isn’t saying much).

The other piece, a tocatta-style chorale prelude on Shout to the Lord, came about as a result of my trying to find some organ music to fit in with Sunday’s service, which features the guitar-supported Praise Team. I wanted to have something that harkened back to traditional for those who like the usually more even mixture of styles in our service, and yet I didn’t want the organ to seem as though it had no connection to the rest of the service. I already had a prelude: a reflective setting of How Great Thou Art, which I wrote a while back. None of my existing music seemed to do for postlude. Rather than keeping digging until I unearthed something, I impulsively decided to write a piece based on the closing song.

I gave the church secretary my title, after playing around a bit on the organ and developing an opening idea. I’m trying the finished piece out today, so I’ll report on it soon.

It was nice to have cousin Michael drop by, even if he wrote me a note directly rather than commenting. I expect to have a post from him soon about his musical and other adventures in Norway (far from his usual San Francisco haunts).

As usual, all this is music to my ears.

In my post earlier today I spoke of a new piece of music I wrote this morning: simple, 4-measure-long repetitive bass line, a simple 1-measure pattern for the left hand, and a playful melody in the right hand. Did I mention the piece was written for organ? The feet do the bass line. It turns out that simple is not necessarily easy…

I had a practice session this afternoon for a wedding, so I brought my new piece along. I really needed to do this, since I am scheduled to play the piece on Sunday. Yeah, I know I’m doing it backwards: I first schedule me to play a piece that doesn’t yet exist, then I write the piece and scramble a bit learning it so I can do justice to the music! I thought I had it made this time. I deliberately stayed simple. But it turns out that fitting simple things together–they occur concurrently–results in a sum that is more complicated than the individual parts would suggest.

I suppose that, if I just wanted to slop my way through, it would be no big deal. But I wanted the piece to be expressive, and on an organ that means that articulation–whether a note is played short and crisp or smooth and connected to its neighbors–is real important.

So it turned out that my simple piece (less than and hour and a half to write almost 4 minutes of solo organ music)…wasn’t simple. I’ve known about that contradiction in other domains–a good children’s book or other art for children can be quite challenging to create. Writing an interesting piece for a beginning musician is hard to do–you don’t want to fall into cliche or mindless sound.

The piece sounds neat! (What else would I say?) It’s better than the mp3 I made from the notation file. I’m looking forward to another practice session tomorrow, as I still have a couple of coordination problems (one hand plays smoothly while the other plays crisply as the bass continues its relentless step – step – step), but I think I’ll be able to iron them out. I’ll play the piece as part of my wedding prelude (generally 30 minutes of music before the ceremony itself starts) so that its official premiere will go smoothly; I would like to work out any first-performance jitters as well as offer what I hope will be perceived as something special–assuming that anyone even notices!

As usual, it’s music to my ears…

The dilemma of a church organist: Sunday’s coming. There’s always another Sunday, or a wedding, or memorial, or other special event to prepare for. And somewhere after Monday I realize I need another prelude (postlude/offertory). And there’s not much time! Theoretically, of course, I practice weeks ahead. But organ playing is a rather practical sport, not long on theory.

I had this bright idea to ask a flautist in the congregation if she would like to play one of my settings of Jesus Loves Me. We’re focusing on children this Sunday in conjunction with World Communion Sunday, and JLM is one of the hymns. She liked the idea, but the timing wasn’t quite right in her life. In the meantime, I’d committed to JLM in the bulletin. So I got up this morning and wrote down what’s really an improv on the tune.

I started with a walking bass. My example shows the first half of the pattern, which just keeps repeating. [Note to Dan and others who like to hear things: here’s the link to the mp3 of the whole piece.] The left hand has a simple pattern based on the first four notes of the tune. It also keeps repeating. That didn’t take long! Now all I need is a bit of melody.

I decided to ornament the melody a bit. Enough so the tune gets elaborated, but not so much that the tune gets lost in the lettuce. Or broccoli. Or salad dressing. Whatever. The tune starts quite simply, as my second excerpt shows.Except for the first two notes, this first piece of melody presents the tune pretty straightforwardly. In order to make things more interesting (at least for me as composer) I decided that each each chunk of melody would be responsible for four measures, even though in its original form it is only two measures long. And then I made the measures four beats long, rather than the two of the original. It meant I had to figure out how to fill more time, and yet make sure that the connection of the material I wrote to the original tune was clear.

There’s an interesting musical problem inherent in the procedure I applied here: there’s no real harmonic progression or direction. Or rather, the walking bass implies motion, as it heads down the scale, makes a slight turn, and begins again just as it reaches home. But while the bass suggests motion, the sustain note in the left hand and the short repeated rif suggest a kind of stasis. Even with all the motion of the bass, and a fairly active melody line, there’s almost a timeless aspect to the piece.

The lack of harmony and constant rhythmic repetition of the bass and left hand places the responsibility for the shape of the piece firmly on the melodic line. I haven’t had a chance to practice the piece yet, but I think that I’ll have to focus on the melody to keep the piece moving–or is it enough that these elements are just there? Although my recording suggests only one tone color for the melody, I have in mind alternating between a flute and a reed sound.

I gotta tell you that it felt good to be doing this again: write a piece Friday morning that I’ll play on Sunday (well, I got the left hand/bass ideas Thursday evening right before choir practice). I’d been a little down about the rather reduced organ I now play, compared to the instrument at my previous church. Clearly, size is less important than making use of what you’ve got…

Which is, of course, music to my ears.

I mentioned in my last post that my cousin Michael is in Norway. North Norway. As in there will be a lot of winter to shovel. I’m going to ask him if I can excerpt from a general letter he sent out recently: it sounds like a fascinating part of the world, and just a bit different from the San Francisco area. How did I get on this track? I actually wanted to comment on an ongoing project of sending him some of my pieces, since the group he is conducting, the Alstahaug Sangkor, liked Gospel 3:16 so well. And that led to an interesting challenge…

Where was my music? Not the hard copy: I have plenty of files, piles and even a stray box or two. I often have several different versions of a piece, sometimes including the original pencil manuscript (either pre-computer or at some stage in the process). I rarely throw any of it away. That would be like losing part of myself! So where was I, computationally speaking?

I’ve been using personal computers since our first Apple II plus (with the extra 16K card). Made some fun music on it. Switched to a Mac in 1985 with a decent music notation program and never looked back. Through generations of computers and notation programs I tried to bring my finished pieces along. I had to redo stuff when I switched from Composer to Finale. And then (sob) I succumbed to the importunings of a certain important person in my life and got a Windows machine.

I’d made the shift from floppies to CDs pretty well. A lot of stuff was archived on a whole bunch of floppies. Even with CDs I could still go back and retrieve something if I needed it. I had a neat little program that catalogued the contents of said floppies, so it was easy to find a file. When I moved to Windows I put as much as I could find on a CD while I still had my Mac (now a Quadra 660 AV–a neat unit) up and working. And then I had to redo the entire CD, as I found my rather loose way of labeling things didn’t work in Windows, which still wanted dot 3 extensions. My own extension code wasn’t recognized (duh!). How was I supposed to know that Finale files were “.mus,” not “.fin?”

So I wanted to send some more music to Michael. My recent work was simple: use either my active file or the careful backup I had made to create a PDF file, upload it to my website, and give Michael the url. Fast and painless. Then I went looking for a couple of older pieces. The flotsam and jetsam of generatons of computers, media, and program upgrades was overwhelming. A unique landscape, rivaling the fjords of Norway with its convolutions. I couldn’t find my Mac CD (the one I’d had to redo)! When I did, it wasn’t the right one. Where’s my music? My life blood? My…

When I calmed down, I noticed that I could find a workaround to open at least some of the stuff, but I may have to go back to the Mac once more (I loved my Macs, but never got beyond “like” with Windows). It’ll be fun, if slow. One last time, file by file, floppy by floppy, grumbling has that spacious 20 meg harddrive fills up and overflows.

Or I could just forget it and copy the music over again. While I don’t particularly want to face that music, it’ll be great fun renewing acquaintance with some of the nooks and crannies of my creativity (don’t go after dark!). I think, before I embark on this project, I’ll go write some more

music to my ears.