A Farewell to Agony

Greetings, dear students!

Now, before anyone panics, I'm talking about self-inflicted agony here.  This isn't the kind of agony that can't be avoided, the kind that comes from outside.  This is the kind of agony we bring upon ourselves by fixating on all the wrong stuff:

http://www.youtube.com/watch?v=x2ZWZqTD5Hg&feature=related

In general, I'm sort of a chronic agonizer....I've talked about the symptoms lots of times, and I know many of us could cop to the same sort of thing: something complex or unexpected happens, and we spend endless amounts of time thinking about why it happened, whose fault it is, all the various ways we could respond, the possible consequences of each of those responses, all the things we'd like to do about it but probably shouldn't, etc.  It's crazy-making.  It seems to be one of my favorite pastimes.  And I think it's time to quit.

So, four weeks into the new year, I'm determined to make this something I work on: giving up on agony.  This is hard, because I know for a fact that the processes behind my agonizing (attention to detail, a propensity for empathy, the desire for clear communication) aren't bad human qualities at all, and in fact, they've played a huge role in my personal and professional success.  But, they're kind of like tonsils as Bill Cosby used to describe them in his stand-up routines -- tonsils are like big security guards armed with bazookas that stand guard against germs, but sometimes something goes wrong and they join the other side.  Tonsillectomy, as I learned at the age of four, isn't a pleasant solution, but it's a permanent one.  The problem with the other side of this little analogy is that it's not desirable (and probably not possible) to remove qualities like empathy or attention to detail or a desire to understand/be understood, so there's no scalpel involved in the long-term fix...it's got to be a moment-by-moment management kind of thing.  I need to find a way to be empathetic, detail-oriented, and a person who desires to communicate clearly, but also to stop myself from obsessing over the stuff in life I can't change or control.  This has become clearer to me over the last few days through several performance experiences wherein I almost managed to steal the joy of performing from myself by working myself into a tizzy about the details rather than trusting the process.  I don't want to be that guy.  I want to be happy.  So, if being happy means I have to be brave enough to change, so be it.

I've spoken before about using solfa as a kind of mindfulness exercise, a way to reinforce the kind of thinking that makes us into healthier and happier people.  Sight-reading in particular forces us to live in the present and continually move on from any setbacks if we wish to be successful, so I've got some of that on tap for you this week:

All Levels


Before you even go hunting for your Ottman, refresh your own memory as to the procedures behind good sight-singing:

1. Look ahead.
2. Pick a good tempo and maintain it -- conducting is a very good idea!
3. Ground yourself in the key.
4. Keep your eye moving ahead of your voice.
5. If you make a mistake, keep going.

Rising Level 2's


Ottman, ch. 9 is your playground.  Pay attention to the character/tempo markings in the book, and try to find examples you don't already know.  Read 2-3 examples per day -- I bet you'll find that your strategy gets better between the first and third example of a given day.

Rising Level 3's


Go nuts with Ottman, ch. 12.  If you find that you know most of the examples already, expand your search to ch. 11 and include some C-clef examples (you're allowed to pretend you're in a different key if you want).  Read 2-3 examples per day.

Rising Level 4's


Take a look at Ottman, ch. 16.  The main challenge of this chapter is meant to be rhythmic rather than melodic, but I'd like you to work with the melodic examples (16.37 and up).  If you get in over your head in terms of chromaticism, you have my permission to backtrack.  Read 2-3 examples per day.

Good luck, dear students!

A new year carol

Hello, my long-lost solfeggists!

So, we are now one week into the 49-week cycle. You will have noticed, perhaps, that I missed week 1 -- sort of intentional on my part, but mostly due to my quick jaunt to Portland, OR for the wedding of the first of my siblings, my older brother. A good time was had by all, I think....in fact, dancing with my younger brother was sort of a cultural education in itself, but I digress...

On the last day of classes, my dear Loyola students were kind enough to collaborate with me in gathering some "solfa aphorisms" -- it brought me back to my days in girls' chorus when we (being the littlest bit dorky) carried around what we called "autograph books" (a la Laura Ingalls Wilder) to collect little sayings from our friends. Don't judge....we were homeschoolers, so we didn't have yearbooks. Anyway, here are some of the sayings that we came up with just a bit over a week ago, many of which transcend solfa and the musical realm:

"Let us take our children seriously! Everything else follows from this...only the best is good enough for a child." (ZK, paraphrased)

Live a little. Music doesn't belong in a china closet.

Modes are messy.

Solfa class is just like therapy....a place to share your troubles. When you talk about your problems, they become easier to solve.

You cannot be a great teacher without giving a little of your heart to every student and in every lesson you teach.

Chromaticism is just a splash of color.

Sometimes anger is just a part of caring.

Solfa is like a workout for your brain.

Listen. It's better than making noise.

We teach people. We teach music. Remember to love both.

Teach your students as if you were teaching your own children.

You choose what you take with you.

You never know for sure what seeds you plant will wind up taking root and flourishing.

Being a good teacher to yourself is a necessary step to becoming a good teacher of others.

The British Invasion would've really taken off if they had used solfa syllables.

Your teacher knows better than you at this moment.

Drinks are better than drama.

Sometimes sitting with failure is more valuable than a thousand successes.

C, D, E.....as easy as ut-re-mi!

You have both your strengths and your weaknesses for a reason. Embrace them. Know them.

Obviously, some of these are more serious than others, some are mostly inside jokes, and some are firmly in my favorite touchy-feely realm. However, I have to say that I think it's valuable to reflect on our recent experiences in the solfa classroom in ways that are both comical and serious, both concrete and hopelessly abstract, and both practical and merely ideal. After all, solfa is a musicianship course, and we all know that our personal experiences and reflections and senses of humor are inextricable from our artistic behavior.

As we ease into this new year, and in the spirit of all of the above, I invite you:

All Levels:

Take a moment sometime this week to write down what you enjoyed about this year's solfa experience, and record the ways in which you know you've grown. Brag. Revel....just a little.

Then, take another moment and write down the things you wish we would have spent more time with in class, the gaps in your own experience that you'd like to have spackled up, and the goals you have for yourself before embarking upon the next phase of your musical training.

If you feel comfortable, please share either or both of the above lists with me. I cannot overstate how important it is to me that each of you feels that this course is supposed to be for YOU, to help YOU grow and succeed. Believe me when I say: if it lies within my power to help you, I want to do that. Also, knowing what you want to work on during the year will really help me guide my posts here on the blog -- at the moment, I sort of follow my nose and try to give you all a nice variety, but if there's something you'd like me to focus on, I'd be glad to do that.

And, just so I don't feel totally soft-core about this week's post:

All Levels:

Each day, select 2 Ottman examples to sight-sing (one in major, one in minor), using the principles we discussed this summer....most importantly, DON'T STOP! If you're wondering what chapter(s) to use, try:

Rising 2's - ch. 6, 8, or 9

Rising 3's - ch. 11, 12, or (if you're feeling frisky) 13

Rising 4's - ch. 13, 7 (if you'd like to practice alto clef), or 20

Enjoy, my friends, and please do consider sending me some feedback -- just like at Burger King, I'd like you to have it YOUR way.

Nifty fifty....

Hello, solfa adventurers!

Guess what! Blogger (our host site) just told me that this is my fiftieth post! Now, the number really should be higher than that, if I were to have been consistent in my weekly posting since the blog's 2009 inception, but still....this is a milestone, and I think we should celebrate with some solfa and some beautiful music from La belle epoque....

Rising Level 2's

Day 1: Select 3 sight-singing examples (try Ottman, ch. 9) -- choose the 3 you'd like to try before you actually sing them. Begin with the first, and be sure to use your tuning fork to set your key. As you begin, take notice of what you do to prepare yourself for the task at hand, and after you're done with the first example, make some decisions about what to do differently for the next example, and build upon this experience for the third example. Once you've completed all three examples, make a note of which process was most successful for you, and write it out, step-by-step.

Day 2: Using your step-by-step list from yesterday, sing through 3 more sight-singing examples. Does the process still work for you? Edit as needed.

Day 3: Type up your process and save it as a PDF...email it to me and to your colleagues so we can compare notes!

Day 4: Look over other folks' processes and compare theirs to yours. Hunt down some new melodies and try out someone else's process. How does it work for you?

Day 5: Take a look at this beautiful piece by Reynaldo Hahn:

http://216.129.110.22/files/imglnks/usimg/3/3f/IMSLP90043-PMLP184585-laNuit.pdf

Sing through the melody....what do you suppose is happening with that E-natural?

Rising Level 3's

Follow the instructions above, but use Ottman chapters 13 and 14 for your sight-singing fodder...or the Haydn section of Classical Canons, if you prefer.

Also, on Day 5, look at this little gem, theme and variation 1:

http://imslp.info/files/imglnks/usimg/8/89/IMSLP25376-PMLP56952-Hahn_Mozart_Variations_Flute.pdf

How will you navigate through those chromatic passages? Will having an aural imprint of the theme (which is largely diatonic) help you along? I believe so....

Rising Level 4's

Follow the same instructions as the rising level 2's, but use the Mozart and Caldara portion of the Classical Canons book for your sight-singing fodder.

And, on day 5, look at this link, song #6:

http://216.129.110.22/files/imglnks/usimg/6/63/IMSLP92289-PMLP190143-Hahn_-_Rondels__voice_and_piano_.pdf

What do you suppose "Mode Hypodorien" means? Do a little digging around (search for the anglicized spelling: "Hypodorian") and see what you come up with. Why would Mr. Hahn be fussing around with modes, anyway?

Oh, and extra points to anyone who can tell me (no Google/Wikipedia cheating!) where Reynaldo Hahn was born and what famous singer he was friends with....

People, Get Ready!

Though it is unseasonably cool and cloudy in my beloved Denver today, I am nonetheless keenly aware that the sultry heat of July in Baltimore draws nigh. And, while I am likewise extremely grateful for the slower pace of life that I’ve been graced with since the end of the spring semester, I feel the pace quickening as “the other 49 weeks” draw to a close and the 3-week stint we all spend in the classroom together approaches.

So, as I pore over past lesson plans and materials, think through what worked and what didn’t, and begin the process of figuring out what to bring (I might get really clever this year and make a shiny, organized binder that is The Big Book of Musical Examples for Solfa....and perhaps discover a life without piles of random books and 3 bajillion pieces of loose paper EVERYWHERE), I’ve also begun to think about what I might do to get myself ready if I were a student in my own classroom:

1. I’d physically track down all my books and make sure that I have them all.

2. I’d find all my notes and handouts from last year (and the year before, if applicable)

3. I’d make myself a list of what supplies I knew I’d need (because trying to find a music store to buy a new tuning fork after class has already started is an annoying process).

4. I’d take a little time to think about what happened last year in my solfa/AKI experience and make a mental (or physical) note about what I’d like to change for this year.

Note that any of your reflections from item 4 would likely be very useful to me as well, and I’d be very grateful if you’d be willing to share them. Upon looking through last year’s lesson plans, I know there are a lot of things I’d like to change. Maybe the biggest thing is that I want to be certain that my students have a strong sense of the relevance of what we do in solfa class to the rest of their musical lives. I want my students to leave solfa class on the 29th of July feeling more empowered and more musical than ever before, and I want that to be something that they own independent of me. I have several ideas for how to help make that happen, but as usual, I will crave your kind assistance:

Rising Level 2’s

Go through my numbered list above.

Find the “Our Tuning Forks, Our Selves” handout (if you can’t find a physical copy, check out the right side of your screen) and give yourself a refresher course. Check your accuracy with finding keys at a recently-tuned piano (if you find that you’re having lots of trouble, check to make sure your tuning fork itself matches the piano).

Practice your tuning fork skills with these Ottman examples:
11.28, 11.30, 11.31, 12.7, 12.16, 12.34

Also, if you haven’t already done so, download a copy of “Modes Made Easy” (see the right side of your screen) and give it a read-through.

Rising Level 3’s

Go through my numbered list above, and also track down your tuning fork and spot-test your key-finding abilities. If modes are a struggling point for you, you might want to check out “Modes Made Easy” as well.

Look through your notes and find your notation of the chromatic exercise we used last year (d...d t,d r.....r di r m.....m ri m f.....f m f so...., etc.). Sing through both the ascending and descending versions.

Use your refreshed chromatic savvy to peruse Ottman chapter 14 and find a few challenging musical knots to unravel.

Finally, draw yourself a musical timeline:
Take a piece of paper and draw a horizontal line.
Along the line, write: Medieval, Renaissance, Baroque, Classical, Romantic, and 20th/21st Century.
Under each designation, write all the musical innovations, composers, forms, and instruments/voice types you associate with each time period. Don't worry if you have a lot more to say about some things than others -- just go off the top of your head.

Once that’s done, mark the items you’re personally curious or confused about, and share those items with me.

Rising Level 4’s

As you prepare for the less-musical portion of your graduate studies, I’d be thrilled to help you in any way I can. Give me a shout if you need anything...

And, just for old time’s sake:

Check out Music for Analysis, pp. 302-04
Sing through the violin II line on p. 302 -- you may wish to skate over to a new key at the beginning of the second system, but you’ll probably want to come back.
Sing through the oboe II line on p. 303...relish the chromatics!
Switch to the violin I line at pickups to the last measure (28) on p. 303, and continue until m. 36. What do you make of that A-flat?
At pickups to m. 37, switch to the flute line until the end of the minuet (if you’re overwhelmed with curiosity, take a look at the trio that follows...mind the key signature!)

Have fun with these preparations! If you have your tuning fork (and a mobile device with some nifty keyboard app to check yourself, if needed), you can even do this by the pool (umbrella drinks optional)! Bonus!

Greed

Salutations!

Last night, I had the privilege of seeing Sweet Honey in the Rock perform live for the second time. If you don't know this group, you must, must, MUST check them out: click here, here, or here.

To my shame, I don't go to lots of non-classical concerts, but whenever I get wind of Sweet Honey coming to town, I'm there. Why? Because I always leave the hall feeling empowered and inspired, and I leave convinced that I'm not the only one who thinks what I think, that maybe there is such a thing as the larger human family. And, I happen to really love Sweet Honey's political agenda, which I'm sure not everyone does, but regardless of one's political views, they talk and sing about certain issues that transcend politics and reach into the realm of morals. At last evening's concert, there was a lot of talk about the dilemma of greed.

What is greed? Well, the woman who spoke about it said that Greed never shows up alone. Greed brings a bodyguard -- named Fear. And from there, human beings get scared of not having enough, of not being able to survive, and in response to this fear, they start hoarding. It happens to everyone, and it isn't just about money....for some of us, money never enters our consciousness as something to hoard. It might be about attention. It might be about our own expressions of love for others. It could be any substance or behavior even remotely under our control, and it is absolutely human nature to try to grasp, clutch, and hide away in order to keep ourselves from running out of whatever it is. What's the fix? Well, I doubt anyone can uproot it from themselves once and for all, but I believe that the practice of being present is a moment-by-moment antidote to freaking out and clamping down. Why? Because if you're invested in being where you are, doing whatever you're doing with all of your might, it's hard to be stockpiling off to the side.

I think musicians have a bit of an advantage here -- maybe that's why all those Greek guys talked about the ennobling attributes of music. High-level music-making, such as performing in a solo or chamber music context, enforces presentness -- hopefully ensemble performance of any kind enforces it, but if there's someone else singing/playing your part with you, there's always the possibility of zoning out and getting away with it, at least for the moment. Also, music-making that requires intense concentration, such as sing-and-play exercises or sight-reading, takes the mind away from the places it tends to get itself into mischief.

That being said....

Rising Level 2's

Sight-reading: Any Ottman example from 6.1-6.20 -- just scan, set your key and tempo, and go!

Sing-and-plays: Ottman, 5.38 and 5.39 -- read through each line on solfa, and then pick line to play on the piano as you sing the other. If you're very comfortable at the piano, play the harder line and sing the easier one. If you're more comfortable as a singer, sing the harder line, and play the easier one. I would also recommend practicing singing one part while just tapping the rhythm of the other as an intermediary step if you have trouble putting it together.

Rising Level 3's

Sight-reading: Any Ottman example from 12.18-12.25, 12.30-32 -- just scan, set your key and tempo, and go!

Sing-and-plays: Ottman, 11.33 and 12.39 -- follow the same instructions as the rising 2's.

Rising Level 4's

Sight-reading: Any unknown Ottman example from chapter 20 (we've done lots of them in the summer, so see if you can find a few we haven't used). Once you've found an unfamiliar one, just scan, set your key and tempo, and go!

Sing-and-plays: Ottman, 15.106 and 15.107 -- follow the same instructions as the rising 2's.

Strive for undivided attention in the few minutes you take to do these tasks. Try not to worry about how it's going to go or if you'll be able to do it. Be generous with yourself in the face of challenges and mistakes. Don't throw in the towel or try to give yourself too many crutches too soon. Take a risk on yourself. You'll be pleasantly surprised at what you get in return.

Moving forward

Hello, musical movers and shakers!

It's going to be quite the week in my little Colorado world -- the long-anticipated Tudors Conference gets underway on Thursday, and I'm up to my elbows in catering menus and university paperwork, but it looks like it might be a go! It's looking to be quite a thrilling time -- and for the musically minded, the conference will finish with a free Tudor Music Concert. I'm particularly excited to be welcoming the Firesign Vocal Quartet to perform a motet by Thomas Tallis and (especially!) William Byrd's Mass for Four Voices.

Anyhow, all this is by way of saying I think it's a good time for another Ottman true-blue sight-reading week -- something that takes just a few minutes and lots of focus, but no prep time.

Rising Level 2's

Chapters 5 and 6 are your playground! Remember to follow these steps:

1. Select your example

2. Check the key (remember to look at the final!) and the meter

3. Choose a moderate tempo, taking the smallest rhythmic division into consideration

4. Once you've set your key and your tempo, start, and keep going no matter what!

Rising Level 3's

If you're feeling nervous, use Chapter 12. If you're feeling sassy, check out Chapter 13.

Remember to follow the same steps as above, and if you use Chapter 13, add a sub-step to #2: look for accidentals, how long they last, and how they resolve.

Rising Level 4's

Chapters 15 and 16 have lots to work with, and they cover quite a spread of difficulty -- in general, the earlier examples in each subsection are simpler, but not always...

Follow the steps above, but as you scan the rhythmic landscape, you may also want to take syncopation or other more complex figures into consideration in choosing your tempo.

The most important thing is probably to just keep going...don't sweat the mistakes!