We wait...

Hello, patient solfeggists!

Being performers, I'm sure you all know something about post-concert let-down. The glut of adrenaline left behind in your system from working way too hard begins to process out, the noise and activity dies down, and there you are....just you. No more concert. It happened. You did the work. It's over.

And then, thump! That's the sound of you dropping back into reality.

It's been that week in my world, although not completely. The Colorado Conductors' Chorus had their first winter concert last night, and they have their second this evening, and then next weekend is a University Singers' concert/mini-retreat to Winter Park, and the following weekend is the Denver Gay Men's Chorus retreat. So, it's necessary to keep up some level of adrenaline, but it's hard to keep the level of adrenaline compatible with the level of activity required. It reminds me of counting rests or taking 2-part dictation -- you have to be just present enough with both your own task and the sound world that's going on around you. If you lose track of either, you'll blow the entrance or miss what happens to the other voice. Rushing is just as bad as dragging. It's the art of being present, which has a lot to do with waiting....and I don't mind confessing to you, my dear readers, that I suck at waiting. I guess that means it's time to practice...and as usual, I'll drag you poor, hapless people into it, too.

Rising Level 2's

Let's have some fun with Ottman rhythms, shall we?

pp. 250-251 (15.1-15.19) is your realm, with these stipulations:

-You must set up the meter and tempo AND conduct throughout.

-Use a metronome (nooooooooo!!!) for at least five of the exercises you do.

-Choose tempi that make the syncopations feel convincing.

-If there are articulation marks, you must follow them.

Rising Level 3's

I think you all might find this tricky, but knowing you guys, you'll relish the challenge...

Ottman pp. 252-253 (15.27-15.38)

-You must set up the meter and tempo.

-To make things easier and more interesting, use one timbre for one voice and a different one for the other (meaning voice/hand or two hands on two different surfaces, i.e. right hand taps on a table and left hand taps your knee).

-Use a metronome (noooooooooo!!!) for at least three of the exercises you do.

-Choose tempi that make the syncopations feel convincing (meaning don't automatically choose a slower tactus for 6/4 vs. 6/8 unless it makes musical sense to do so).

Rising Level 4's

Since y'all are such hot stuff...

Ottman: 15.107, 15.112, and 15.114

Step 1: Treat each example as a 2-part rhythmic exercise (follow procedure above)

Step 2: Treat the top voice of each example as a melodic exercise (but be sure to conduct!)

Step 3: Tap the lower voice as you sing the upper voice

(Optional Step 4: Play the lower voice on piano as you sing the upper voice)

As always, feel free to choose an easier or harder assignment depending on how you're feeling this week.

And, if you're interested, here's my new waiting soundtrack...

Bernstein: Mass (Marin Alsop, Baltimore Symphony Orchestra, Jubilant Sykes)

Track 23: Epistle "The Word of the Lord"

At the risk of sounding hopelessly subversive, here's my favorite line from the piece:

So we wait in silent treason until reason is restored....

We wait.