Excited About My New Accompaniment Gig

I can see why my friends and colleagues who gig regularly enjoy playing with different groups of musicians. The easiest way for me to explain how it makes me feel is to use an analogy from anthropology:

The Tamil Indians believe that all living and inanimate substances are fluid essences. That is, me typing on studio computer keyboard, staring at my computer screen make up a new "joint" substance. Every music ensemble and every project is akin to this.

This week and next, I am working with a school choir in preparation for their in-school music festival. I've worked with the music teacher before but with a different choir. Different context. Different ensemble. Totally different music.

The pieces are simply charming. I'm having a great time learning the music. It's energizing as it's different from what I've been working on lately.

First, there's Antonio by Jay Broeker:

Antonio

By Jay Broeker. For 2-part voices and piano. Concert. Octavo. Published by Santa Barbara Music Publishing (SB.SBMP-873)

...more info

It's the trickiest of the bunch. The lyrics are funny and tune sticks in your head for hours.

Nick Page's Fairest Lady is a beautiful ballad:

Fairest Lady

((No. 7 from The Nursery Rhyme Cantata) CME Beginning). By Nick Page. For Choral, Chorus, Piano (UNIS). CME Beginning Series. 8 pages. Boosey & Hawkes #M051471799. Published by Boosey & Hawkes (HL.48004859)

(1)

...more info

Spirits by Douglas Beam is deliciously spooky. The fourth piece is Pirate for a Day by Roger Emerson:

Pirate for a Day

By Roger Emerson. For Choral (2-Part). Youth Sing Out (Choral). 12 pages. Published by Hal Leonard (HL.8564233)

...more info

It makes me giggle whenever I practice it. Every. Single. Time.

I am enjoying my work with the choirs so far and look forward to hearing what kind of music we create together onstage.

Ensemble Musings

No world exploration clip this week. My students and I have been reviewing video of their performances at last week's recital. There were many strong performances. However, I think the ensemble numbers really got the crowd going.

Those ensemble performances were a great prelude to what coming up at the studio. Next week is Group Class Week.

The kids have been working hard since September on two or three ensemble pieces. Instead of their regular lesson, they will have a combo class. Next week is the first time they will meet as a group to work on their pieces. It's hard to tell who's more excited: my students, Maestro or myself!

I've split my students into eight ensembles. We have a varied line-up:

1. "Mission Impossible" (for sax, clarinet, keyboard and cajon)

2. "Numb" by Linkin Park (for voice, keyboard, cajon and bass)

3. "Under the Sea" for 4 hands/1 piano, cajon and hand percussion

4. "Super Mario Overworld Theme" for piano, cajon and hand percussion

5. "Lady Bird" for piano and cajon

6. Pia no Jac's version of "Ode to Joy" for piano and cajon

7. "Edge of Glory" by Lady Gaga for voice, keyboard, cajon and hand percussion

8. "The Athletic Rag" from Super Mario for 4 hands/1 piano, cajon and hand percussion

9. "Bless the Broken Road" for piano, guitar and cajon

10. "Gerudo Valley Theme" from Zelda for 4 hands/1 piano and cajon

11. "Floral Heartstring" by Pia no Jac for piano, cajon and hand percussion

12. "When You Believe" for voice, piano and cajon

13. "Moves Like Jagger" by Maroon 5 for voice, keyboard and cajon

In addition to the studio combos, I've been preparing for my submission to

Eric Whitacre's Virtual Choir 3.0

. This is undoubtedly one of the most difficult works for voice I have ever worked on. With it being a "virtual" choir, I do not have the benefit of having a stellar singer beside me to follow. I need to know my pitches! Not only that, but I have to work tremendously hard on breath support.

It's been a wonderful challenge though. I got goosebumps when I first heard

Virtual Choir 2.0

and am excited to just be a part of it.

Solo music making is fun but I'm finding that there is something magical and energizing about music making in an ensemble.

(c) 2012 by Musespeak(TM), Calgary, AB, Canada. All rights reserved.

Choir Music Musings

This semester, I'm filling in for the pianist of Okotoks Alliance Church Choir. They are busy preparing for the Christmas concerts. Yes, I know, we're not even past Thanksgiving yet but these things take time to prepare!I haven't sung in a choir since university and it's been a few years since I've "accompanied" (or shall I say, worked as a "collaborative pianist") in this capacity.

I forgot how much fun it was.

There is such a rush when you hear all the voices blending in and filling the room. It's somewhat similar to the rush I got playing in the jazz combos at jazz camp this summer, especialy when we fed off each other's energy and ideas.

I find myself itching to practice Michael W. Smith's setting of Gloria/Lux Venit, because if some of the youtube videos are any indication, the build-up in Gloria is going to give one huge rush to performers and listeners alike.

[Note to those who've heard this - yes, I'm drilling that transition from Lux Venit to Gloria like crazy!]

This is serving as a reminder of how important it is for pianists - who play mostly solo repertoire - to engage in group music activities.

It provides balance, works on our teamwork skills but most of all - it's just plain fun to do.

Addendum

Here's our performance of Gloria with Lux Venit:

(c) 2009 by Musespeak(tm), Calgary, AB, Canada. All rights reserved.

Keeping Ensembles in Sync

This year, my students are working on duets and trios. For most, it's their first experience in the collaborative arts. Some groups are finding it relatively easy to find the ensemble's pulse. These players have a fairly good internal pulse and have caught on to giving and receiving cues. Or in the case of those who aren't usually steady, they become steady because they are listening to their partners and to how everything fits together. And - they get along (always a bonus).

Then, there's the other extreme. One trio is comprised of a boy whose tempi vary widely (although he vehemently denies this), one girl who stops every time she plays a note that's not on the page and one girl who just doesn't care about getting the notes right, much less the tempo. I can only hope that the next trio class will go more smoothly. In another group, my "Giggle Trio" - two players were distracting each other, which drove the third partner crazy because she just wanted to get through the entire song.

Here are a few articles on ensemble playing:

The Ensemble that Plays Together - another great post from Chris Foley

Why Being a Great Ensemble Player May Require More than Just Our Ears

September 3, 2020: Updated some of the dead links.

Fun with Ensemble Music

While my students are enjoying their summer off from lessons, I'm practicing madly for an intense one-week piano camp, offered by the Calgary Arts Summer School.One of the songs that I'm working on is a two piano, eight hand arrangement of "Stars and Stripes Forever". I'm learning the Piano II - Primo part.

Now, I can't vouch for whether my quartet members and I will be able to play this sucker at this speed after only one week of practice together, but this performance is pretty exciting:

I haven't played in a piano quartet since my university days. For an April Fools' Day recital, my classmates and I performed the Blue Danube for one piano, four noses!

At any rate, ensemble playing can be really fun - once you get over the hurdle of everyone counting beats together.

Want to learn this arrangement? Check it out here:

look inside

The Stars and Stripes Forever Composed by Mack Wilberg (1955-). Intermediate Level piece for the Piano Quartet Event-Two Pianos, Eight Hands with the National Federation of Music Clubs (NFMC) Festivals Bulletin 2008-2009-2010. Patriotic. Music book. Neil A. Kjos Music Company #WP181. Published by Neil A. Kjos Music Company (KJ.WP181).