On my way to work today I was listening to a brand new recording of Anton Bruckner's 4th symphony. I was able to hear the first movement before having to shuffle my way into the branch. The first movement is filled with lovely Austrian undertones and ethnic melodies, with deep Romantic themes. After all, it was premiered in 1881 in Vienna and was Bruckner's first taste of success and placed him on the symphonist map. His first three symphonies apparently were flops and he took 7 years and three revisions before he allowed this one to be performed. If you ignored that this was an orchestral piece, you would think I was discussing a great film and its director. Its hard to imagine people back then actually keeping tabs on composers and looking forward to premieres of pieces. That kind of thing is unheard of in music these days. The closest to it that we have is with movies. The closest draw to the Bruckner story I can think would maybe be Peter Jackson. Peter Jackson spent much of his early directing years making pretty crappy horror movies. Then suddenly word gets out hes making an epic film based on "The Lord of the Rings" trilogy. I mean I remember watching "making of" trailers my freshman year of college in 1998. The first of the series came out in 2001. People back then just got into it, symphonies were the movies of their day. According to legend, Stravinsky's debut of the ballet "Rite of Spring" caused violent outbursts by the audience, including keeping time on someones head. That had to hurt, with how rhythmic Stravinsky is. His primitivism was able to bring out the primal beast in man. Amazing. Similarly, some of you might remember when "New Jack City" came out. This movie caused fights and rioting to break out in urban areas that it was shown. I just find it interesting how over time, our main stimulus for emotion has changed from audio to visual. Music can still make us cry and laugh, but its not an immediate reaction like a photo, not to mention a lot more people are going to find humor in an Adam Sandler movie these days than a PDQ Bach audio CD. Sad, but our society has "evolved".
On a little side topic, have you ever popped in a CD you hadn't listened to in a long time, and just thought to yourself "Why do I not listen to this every day?" This happened to me the other day when I decided to put in "Sam's Town" by The Killers. I am definitely a fan of the Killers and I loved this album, the newer of the two. But it had been maybe 2 months since I listened to it, after listening to it every day, singing along to it loudly, and then I decided I should be sick of it and stopped. But I put it back in and I immediately was grabbed by their sound again. Just hooked, reeled me right back in. This CD has a little gem in it that is titled simply "Enterlude". The song is repeated and developed some for "Exitlude". The songs lyrics sound like a simple child's poem, but are incredibly optimistic and are placed with simple straight piano chords that can't help but to make you smile. I can't help but to get excited about the Killers almost every day. I like them, can't help it. A lot of people didn't like the Sam's Town album, but they are the ones that thought Hot Fuss was nothing but a pop album, and not one telling a story. Sam's Town continues in telling a new story.
Peace and good intonation to you all
Wednesday, September 26, 2007
Sunday, September 23, 2007
Back To The Future
I must preface this blog entry by letting you know that this will be an entry primarily about about CDs and the Renaissance Festival. It will be very scattered as the pickings of CDs this past week or so has been very diverse.
First off the Renaissance Festival here in Baltimore never falls short of providing me with entertainment and music issues, whether good or bad. Lets start with the bad. Pyrates Royal, one of the most unprofessional group I've seen perform for money, still didn't fix their problems. Talking to each other out of character during songs, loud enough to be picked up on mic's, inconsistent performance standards, and a flare of arrogance that makes you want to cut the brake lines on their car, continue to stagger me with this group. During a song last year, mid verse in fact, stopped to tell someone to get their kid away from the stage and vamped the one bar over and over until the mother came up to get the child. Thats right, the kid wasn't on the stage with them, just was dancing near it.
So I saw the Pyrates Royale twice on Saturday. The first show they were pretty sober, somewhat tight, but as usual can't hear the singing at all. The sound system on this stage is horrible, but you see, every other act pretty much brings its own body microphones and plugs into the system. They do not. In a way I'm glad they don't. The women have voices that are like cats birthing. Now before you start in with well they're supposed to be pirates. I know that, but see they present themselves as an actual band. They sell CDs while they play. One of the women prides them self as a dulcimer player. Remember this is a Renn Fest, theres dulcimers everywhere. She really should be embarrassed for bringing it with her and taking it out. Her hammering was inconsistent, and it was out of tune. In fact, everyones instruments were out of tune. No joke, they took their guitars out of the cases and just started playing. Never mind the humidity and heat, and the rapid temperature change that took place during the day. This is not how you operate as a musical group. I was embarrassed as usual seeing this group. Next year, I do not plan to attend one of their performances.
Now for a good thing out of the Renn Fest; the duo of Jenny O'Connor and Mark Varelas. They presented a very professional appearance, and highlighted their strengths. Mark was very skilled on various lutes, particularly the Bouzouki. His tremolo strumming was accurate and tastefully done. They did two amazingly well done covers. One was The Victor by Dick Dale, who Mark admits to being an influence in his playing. Rare to hear a folk musician say they were inspired by a rocker. The other, along those lines, was Kashmir by Led Zeppelin. This was also amazingly done. Jenny was very skilled on the violin and her extended techniques and pitch bends were done quite well. This was the first group I had ever seen get a standing ovation at the festival. I had to purchase their CD. I had to have it. We even listened to it in the car on the way home. It helped us all relax after a hard day at the fair(e).
This week I made some interesting selections from the library on CD. The Pixies "Doolittle", the Clash's "London Calling", Ozzy Ozbourne's "Black Rain", and Within Temptation's "The Heart of Everything". Not many people know that punk music holds a special place in my heart, because of its free spirited-ness and its ability to just destroy music's conventions. You don't need to have a good singing voice, virtuoso on guitar, or a great lyricist. You are doing it because it feels good. This past week I spent some intimate time with "London Calling" by The Clash. Its an amazing composition. Its three chords and the same melody over and over again. and the melody doesn't even cause tension with the chords. Its just E minor and A minor back and forth, the bridge is in B, then its right back. The "guitar solo" is nothing but a distorted E. Yet this song is one of the most beloved in the world of rock. On the same level, this is why The Pixies appeal to me. I can't stand their sound, but I can't stop listening at the same time. Its just so different my ear falls in love with it. Ozzy, he just flippin' rocks. On "Black Rain" Ozzy seems to to go back to the raw power and sound of 70's metal. A clean, dry sound on bass, and little guitar distortion, and Ozzy's nasal voice just culminate into an amazing sound that no other band in rock can bring. The tight solos by Mr Zakk Wylde are amazing. This weeks wildcard was the band "Within Temptation". I had only heard them mentioned by the lead vocalist of the band Nightwish, which is another great metal band that of which I am fond. I was not familiar with them, but a symphonic metal band with a female vocalist, just couldn't miss. I did like this band, but I am a big fan of guitar solos and transition sections, of which there weren't many. The band has a good power sound and her voice is clear and ethnic sounding. Of all the prog/symphonic metal bands I've heard, they do the best in solving the problem of getting the vocals to fit the heavy style of the music, but they did that by making the styles so far opposite of each other, it is a refreshing sound. I do love this album, and added to my iPod, like everything I mentioned above, but I will not be purchasing my own copy of the CD. I think they have a lot of room to grow and the next album, if they keep with it, will be the polished gem they need.
I hope this blog finds you having a great musical experience and peace.
First off the Renaissance Festival here in Baltimore never falls short of providing me with entertainment and music issues, whether good or bad. Lets start with the bad. Pyrates Royal, one of the most unprofessional group I've seen perform for money, still didn't fix their problems. Talking to each other out of character during songs, loud enough to be picked up on mic's, inconsistent performance standards, and a flare of arrogance that makes you want to cut the brake lines on their car, continue to stagger me with this group. During a song last year, mid verse in fact, stopped to tell someone to get their kid away from the stage and vamped the one bar over and over until the mother came up to get the child. Thats right, the kid wasn't on the stage with them, just was dancing near it.
So I saw the Pyrates Royale twice on Saturday. The first show they were pretty sober, somewhat tight, but as usual can't hear the singing at all. The sound system on this stage is horrible, but you see, every other act pretty much brings its own body microphones and plugs into the system. They do not. In a way I'm glad they don't. The women have voices that are like cats birthing. Now before you start in with well they're supposed to be pirates. I know that, but see they present themselves as an actual band. They sell CDs while they play. One of the women prides them self as a dulcimer player. Remember this is a Renn Fest, theres dulcimers everywhere. She really should be embarrassed for bringing it with her and taking it out. Her hammering was inconsistent, and it was out of tune. In fact, everyones instruments were out of tune. No joke, they took their guitars out of the cases and just started playing. Never mind the humidity and heat, and the rapid temperature change that took place during the day. This is not how you operate as a musical group. I was embarrassed as usual seeing this group. Next year, I do not plan to attend one of their performances.
Now for a good thing out of the Renn Fest; the duo of Jenny O'Connor and Mark Varelas. They presented a very professional appearance, and highlighted their strengths. Mark was very skilled on various lutes, particularly the Bouzouki. His tremolo strumming was accurate and tastefully done. They did two amazingly well done covers. One was The Victor by Dick Dale, who Mark admits to being an influence in his playing. Rare to hear a folk musician say they were inspired by a rocker. The other, along those lines, was Kashmir by Led Zeppelin. This was also amazingly done. Jenny was very skilled on the violin and her extended techniques and pitch bends were done quite well. This was the first group I had ever seen get a standing ovation at the festival. I had to purchase their CD. I had to have it. We even listened to it in the car on the way home. It helped us all relax after a hard day at the fair(e).
This week I made some interesting selections from the library on CD. The Pixies "Doolittle", the Clash's "London Calling", Ozzy Ozbourne's "Black Rain", and Within Temptation's "The Heart of Everything". Not many people know that punk music holds a special place in my heart, because of its free spirited-ness and its ability to just destroy music's conventions. You don't need to have a good singing voice, virtuoso on guitar, or a great lyricist. You are doing it because it feels good. This past week I spent some intimate time with "London Calling" by The Clash. Its an amazing composition. Its three chords and the same melody over and over again. and the melody doesn't even cause tension with the chords. Its just E minor and A minor back and forth, the bridge is in B, then its right back. The "guitar solo" is nothing but a distorted E. Yet this song is one of the most beloved in the world of rock. On the same level, this is why The Pixies appeal to me. I can't stand their sound, but I can't stop listening at the same time. Its just so different my ear falls in love with it. Ozzy, he just flippin' rocks. On "Black Rain" Ozzy seems to to go back to the raw power and sound of 70's metal. A clean, dry sound on bass, and little guitar distortion, and Ozzy's nasal voice just culminate into an amazing sound that no other band in rock can bring. The tight solos by Mr Zakk Wylde are amazing. This weeks wildcard was the band "Within Temptation". I had only heard them mentioned by the lead vocalist of the band Nightwish, which is another great metal band that of which I am fond. I was not familiar with them, but a symphonic metal band with a female vocalist, just couldn't miss. I did like this band, but I am a big fan of guitar solos and transition sections, of which there weren't many. The band has a good power sound and her voice is clear and ethnic sounding. Of all the prog/symphonic metal bands I've heard, they do the best in solving the problem of getting the vocals to fit the heavy style of the music, but they did that by making the styles so far opposite of each other, it is a refreshing sound. I do love this album, and added to my iPod, like everything I mentioned above, but I will not be purchasing my own copy of the CD. I think they have a lot of room to grow and the next album, if they keep with it, will be the polished gem they need.
I hope this blog finds you having a great musical experience and peace.
Monday, September 17, 2007
I walked that way while comfortably numb screaming I love rock n roll
Well Where do I start??? I guess I should go in chronological order। Saturday night started this weekend off with a laser light show at the Pier Six pavilion with the Pink Floyd cover band "Several Species", named for "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict", a piece of music concrete by Roger Waters.
This band prides themselves for accurately re-creating the sound of Pink Floyd. This they should be proud of, they were dead on. Several times, I closed my eyes took a deep breath of the pot smoke from the row in front of my dad and I, and BAM!!, Floyd was there. The group hit most of your standard Pink Floyd songs, and their first set included "Time", "The Man/The Journey" Suite, and "Shine On you Crazy Diamond". After a brief intermission to stretch your legs and get the second hand pot buzz to go away, the band comes right back out. The second set was kind of a highlight run of the album "The Wall". This included a rousing sing-along to "Another Brick in the Wall" (one of my personal favorites). Cleverly, they had the audience sing where the London Boys Choir sang. At this point if you weren't feeling this band, go the heck home. Several times I found myself close to tears simply due to their amazing ability to not just play Pink Floyd note for note, but in the jam sections they would lock into identical groves and even played on the same parts of the beat. The term "detail oriented" doesn't come close to describing the effort and the manner this 11 piece ensemble operates. The encore of "Comfortably Numb" and "Wish You Were Here" were quite wonderful. by this point, three hours of this left my ass comfortably numb as well.
So That wraps up Saturday Night. Sunday night, WOW. Sunday night had a double billing at the Nissan Pavilion in rustic Bristow, Virginia. Joan Jett and the Blackhearts opening for none other than Aerosmith. Now I am not a huge Aerosmith fan, and I like Joan Jett a lot, she looks good in leather, kicks ass, and seems like a chick who will sit down with you at the bar and pound a few back with you, then have your back when the jerk at the end of the bar looks at you all funny. Never mind the fact Cherry Bomb and Bad Reputation are just kick ass songs. Sitting out on a blanket on a cool mid-September summer evening, the Blue Ridge mountain foothills in the background and of course a nice beverage. But back on to the hottie in the black leather. Joan and her Blackhearts come out in traditional punk style. Dressed down, fresh from either bed or a fight, no intro, just hit right in on the music. They do Bad Reputation, Cherry Bomb, and one other song, before she takes the mic and simply says "Thanks, we're the Blackhearts from New York City". Straight up punk. I love it. Its all about the music. The cover of "Crimson and Clover" is what got the dancing going, though the crowd, seemingly uneducated about Joan Jett just wanted "I Love Rock 'n' Roll" and she gave it, and kicked some ass, though its so not her best song. She went out with "I Hate Myself for Loving You". Awesome show so far. the first smells of marijuana appeared during the "Crimson and Clover".
Aerosmith comes out with a lackluster little fake newsreel about their current tour. The moment it ended the lights and a massive kick hit and they were off and rocking out. By this point I've lost track of what was playing, and what songs were being played and just focused on the task at hand, shaking my rotund self to some sweet tunes. The marijuana smell now strong from the blanket in front of us. I do know Aerosmith hit a lot of their big songs, such as "Sweet Emotion", and "Walk This Way". It is an odd thing that happens to me at music concerts. I tend to go into a trance of sorts and just not care about whats going on around me and can ignore things, even chicks wanting to dance, though I did partake in that a few times. I'm not completely out of it. Just when it happens, be careful. I truly have began losing myself in the music again. I hadn't been able to do that in a long time. I think I'm coming out of the college overload finally. It happens to some music majors, to where they lose the joy of music because they must micro-analyze it. Its a fun party trick, but makes you a huge loser at these things. I credit the start of this blog in helping me get out of it.
Anyways, Aerosmith does a two hour set, which included a kick-ass theremin solo by Joe Perry. That sent me crazy, as I am a very amateur theremin player myself. He even used the same one I own. I felt proud. Dumb reason to be proud, but I finally related, instrumentally to a band I am seeing. That was big, I hadn't been to a concert that involved a trumpet, that wasn't my trumpet on stage, in a long time.
That concert was worth the wait, cost, headache and distance from driving in Virginia.
Anyways there you have it, the review of a big big big weekend for music. I'm worn out, but my quintet just booked itself another gig for October 14, so we need to get our act together and rehearse tomorrow night, before the second symphony rehearsal of the year. This gig suits us well too, they want off the wall, and I told the guy, "We can do off the wall, we're not your mom's brass group."
Peace to you all
This band prides themselves for accurately re-creating the sound of Pink Floyd. This they should be proud of, they were dead on. Several times, I closed my eyes took a deep breath of the pot smoke from the row in front of my dad and I, and BAM!!, Floyd was there. The group hit most of your standard Pink Floyd songs, and their first set included "Time", "The Man/The Journey" Suite, and "Shine On you Crazy Diamond". After a brief intermission to stretch your legs and get the second hand pot buzz to go away, the band comes right back out. The second set was kind of a highlight run of the album "The Wall". This included a rousing sing-along to "Another Brick in the Wall" (one of my personal favorites). Cleverly, they had the audience sing where the London Boys Choir sang. At this point if you weren't feeling this band, go the heck home. Several times I found myself close to tears simply due to their amazing ability to not just play Pink Floyd note for note, but in the jam sections they would lock into identical groves and even played on the same parts of the beat. The term "detail oriented" doesn't come close to describing the effort and the manner this 11 piece ensemble operates. The encore of "Comfortably Numb" and "Wish You Were Here" were quite wonderful. by this point, three hours of this left my ass comfortably numb as well.
So That wraps up Saturday Night. Sunday night, WOW. Sunday night had a double billing at the Nissan Pavilion in rustic Bristow, Virginia. Joan Jett and the Blackhearts opening for none other than Aerosmith. Now I am not a huge Aerosmith fan, and I like Joan Jett a lot, she looks good in leather, kicks ass, and seems like a chick who will sit down with you at the bar and pound a few back with you, then have your back when the jerk at the end of the bar looks at you all funny. Never mind the fact Cherry Bomb and Bad Reputation are just kick ass songs. Sitting out on a blanket on a cool mid-September summer evening, the Blue Ridge mountain foothills in the background and of course a nice beverage. But back on to the hottie in the black leather. Joan and her Blackhearts come out in traditional punk style. Dressed down, fresh from either bed or a fight, no intro, just hit right in on the music. They do Bad Reputation, Cherry Bomb, and one other song, before she takes the mic and simply says "Thanks, we're the Blackhearts from New York City". Straight up punk. I love it. Its all about the music. The cover of "Crimson and Clover" is what got the dancing going, though the crowd, seemingly uneducated about Joan Jett just wanted "I Love Rock 'n' Roll" and she gave it, and kicked some ass, though its so not her best song. She went out with "I Hate Myself for Loving You". Awesome show so far. the first smells of marijuana appeared during the "Crimson and Clover".
Aerosmith comes out with a lackluster little fake newsreel about their current tour. The moment it ended the lights and a massive kick hit and they were off and rocking out. By this point I've lost track of what was playing, and what songs were being played and just focused on the task at hand, shaking my rotund self to some sweet tunes. The marijuana smell now strong from the blanket in front of us. I do know Aerosmith hit a lot of their big songs, such as "Sweet Emotion", and "Walk This Way". It is an odd thing that happens to me at music concerts. I tend to go into a trance of sorts and just not care about whats going on around me and can ignore things, even chicks wanting to dance, though I did partake in that a few times. I'm not completely out of it. Just when it happens, be careful. I truly have began losing myself in the music again. I hadn't been able to do that in a long time. I think I'm coming out of the college overload finally. It happens to some music majors, to where they lose the joy of music because they must micro-analyze it. Its a fun party trick, but makes you a huge loser at these things. I credit the start of this blog in helping me get out of it.
Anyways, Aerosmith does a two hour set, which included a kick-ass theremin solo by Joe Perry. That sent me crazy, as I am a very amateur theremin player myself. He even used the same one I own. I felt proud. Dumb reason to be proud, but I finally related, instrumentally to a band I am seeing. That was big, I hadn't been to a concert that involved a trumpet, that wasn't my trumpet on stage, in a long time.
That concert was worth the wait, cost, headache and distance from driving in Virginia.
Anyways there you have it, the review of a big big big weekend for music. I'm worn out, but my quintet just booked itself another gig for October 14, so we need to get our act together and rehearse tomorrow night, before the second symphony rehearsal of the year. This gig suits us well too, they want off the wall, and I told the guy, "We can do off the wall, we're not your mom's brass group."
Peace to you all
Tuesday, September 11, 2007
There is hope in the Reformation...
By glance of the title, you may think I'm about to break my rule and discuss religion. WRONG! Fooled you. This entry is actually about a 2 hour rehearsal with the newly reformed UMBC Symphony. It was the first under the baton of Dr E Michael Richards, of music theory 5 and music history II fame. Dr Richards and I go way back. I remember when he was hired and my good friend Stef and I had to gather information to present for his consideration for tenure. I've been to his house a few times for birthday parties even. I had never worked with him though in a large ensemble. I have to admit I am not 100% in playing, I can't support like I normally can so I was relying on strength tonight and not so much technique and form to play well, so I didn't play that well. We spent 2 hours tonight working simply on the last movement of Mendelssohn's Symphony No. 5 in D major "The Reformation". Now the trumpet part isn't terribly loud, or high but I was beat mentally. I never had such an intense orchestra rehearsal, and the group never sounded so go. I had performed this piece a few years ago, my handwriting is still on the score. I can say that it sounded better tonight, after one rehearsal, than it did when we performed it. Nothing against the old conductor, him and I were pals, he was my trumpet teacher. Dr Richards has the group re-energized, and is working the group mentally, pushing everyone to their limits. It was quite exciting. I can't really explain it. Its going to be a hell of concert if the group can mentally mature and keep the intensity.
I checked out a new CD today, 8-bit Operations. Its the music of Kraftwerk played on nothing but sounds from 8-bit video game systems. Very interesting stuff, and definitely creative and inspirational. I would recommend giving it a listen. Just in case no one has heard of Kraftwerk, heres a link to their wikipedia entry. Kraftwerk. Heres a video of my favorite song by them, "Pocket Calculator"
Well I think thats enough for this entry. Please keep reading, those who do, and tell others to read! I appreciate it and peace.
I checked out a new CD today, 8-bit Operations. Its the music of Kraftwerk played on nothing but sounds from 8-bit video game systems. Very interesting stuff, and definitely creative and inspirational. I would recommend giving it a listen. Just in case no one has heard of Kraftwerk, heres a link to their wikipedia entry. Kraftwerk. Heres a video of my favorite song by them, "Pocket Calculator"
Well I think thats enough for this entry. Please keep reading, those who do, and tell others to read! I appreciate it and peace.
Monday, September 10, 2007
Amazing Multimedia
So today I found myself home from work due to back issues and a lovely panic attack. So I took an afternoon solace in some arranging. Todays targets were Frosty the Snowman and Silent Night. I have to admit that I love Christmas music so arranging these songs brings me comfort. Some people find peace in a special place, a special food, favorite tv show. For me, its music, especially Christmas music. It reminds me of Tubachristmas, friendly people, crowded malls, and get-togethers with friends.
Anyways, I know for most of you its too early to talk Christmas and its meanings for you, so its cool. I understand. Its just been a hard year and I find my peace in that season, and its music. Like I said last entry, musicians start now and sometimes I have had to start back on July5th.
But back to the topic I started with, Frosty the Snowman and Silent Night. Frosty the Snowman is not very tricky of a carol, which is what makes it hard. I know thats hard to follow, but really think of the song we all know and love about the rotund snow person. Its either a march or an extremely cheesy swing tune. I have to admit I'm not a fan of swinging, jazzy chamber music, it doesn't sound natural, since theres no rhythm section. But I remembered back on some of my fond Christmas memories, which always included a trip to Hershey Park a week or so before Christmas. Cold, sometimes snowy, and running from store to store. Every dash outside though, the main sound you could hear was the orchestron on the historic Hershey Park carousel. My favorite song the out of tune automatronic (yes I made the word up, it sounds so...Vaudevillian...) orchestra would play was Frosty the Snowman. I would stand out in the 10 degree weather and start singing along and doing a jolly little fat dance. Sometimes people would join in singing, but most were bah-humbug and would laugh. Anyways, back tot he brass arrangement. So for this arrangement, I put the trumpets in almost non-stop thirds with the main melody. The tuba is of course...oom-pa'ing away. The horn has the awkward harmonic after beats to sound like that calliope on the carousel painfully a tad sharp from the bitter cold. Trombone is on every down beat with awkward harmony with the tuba. It should be interesting to hear on the actual instruments. I'm excited about it. All its missing the fire bell ringing to let you know the ride is starting/ending.
Silent night is difficult. No if, ands, or buts about it. The melody stretches across an octave and a half causing some serious voicing issues. It forces melody to stay on trumpet, because on french horn, where it sounds the prettiest, it goes either too high or into trombone range and gets muddy. This arrangement I wanted to make it sound not so straight forward, wanted a little modern, while preserving its old, peaceful feeling. So it opens stretching its basic chord progression to the limit with appoggiature, and moving over stationary chords. I then stripped it down, to just single trumpet, trombone, and tuba. No counterpoint, just straight harmony, while still stretching the harmonies a little. The second verse, I put it into 4 part harmonies with full counterpoint, then at the appropriate time, bring tuba back in for a 5 part harmony, and a full, 3 octave spread, and settle it back in on a calm I chord.
This weekend, I sat down and watched the Dream Theater live from Radio City Music Hall DVD. 3 hours of just kicking ass. Amazing group, amazing concert. It confirmed for me though, their keyboardist, Jordan Rudess actually reads sheet music during their shows. That blows my mind, with how intricate their playing is that hes reading notation for it. Wow. I plan to watch the DVD on the Killers I bought at the same time. I don't think it will be as interesting but I love The Killers and it will be neat to know their backgrounds.
I leave you this week with a tubachristmas warm up
Anyways, I know for most of you its too early to talk Christmas and its meanings for you, so its cool. I understand. Its just been a hard year and I find my peace in that season, and its music. Like I said last entry, musicians start now and sometimes I have had to start back on July5th.
But back to the topic I started with, Frosty the Snowman and Silent Night. Frosty the Snowman is not very tricky of a carol, which is what makes it hard. I know thats hard to follow, but really think of the song we all know and love about the rotund snow person. Its either a march or an extremely cheesy swing tune. I have to admit I'm not a fan of swinging, jazzy chamber music, it doesn't sound natural, since theres no rhythm section. But I remembered back on some of my fond Christmas memories, which always included a trip to Hershey Park a week or so before Christmas. Cold, sometimes snowy, and running from store to store. Every dash outside though, the main sound you could hear was the orchestron on the historic Hershey Park carousel. My favorite song the out of tune automatronic (yes I made the word up, it sounds so...Vaudevillian...) orchestra would play was Frosty the Snowman. I would stand out in the 10 degree weather and start singing along and doing a jolly little fat dance. Sometimes people would join in singing, but most were bah-humbug and would laugh. Anyways, back tot he brass arrangement. So for this arrangement, I put the trumpets in almost non-stop thirds with the main melody. The tuba is of course...oom-pa'ing away. The horn has the awkward harmonic after beats to sound like that calliope on the carousel painfully a tad sharp from the bitter cold. Trombone is on every down beat with awkward harmony with the tuba. It should be interesting to hear on the actual instruments. I'm excited about it. All its missing the fire bell ringing to let you know the ride is starting/ending.
Silent night is difficult. No if, ands, or buts about it. The melody stretches across an octave and a half causing some serious voicing issues. It forces melody to stay on trumpet, because on french horn, where it sounds the prettiest, it goes either too high or into trombone range and gets muddy. This arrangement I wanted to make it sound not so straight forward, wanted a little modern, while preserving its old, peaceful feeling. So it opens stretching its basic chord progression to the limit with appoggiature, and moving over stationary chords. I then stripped it down, to just single trumpet, trombone, and tuba. No counterpoint, just straight harmony, while still stretching the harmonies a little. The second verse, I put it into 4 part harmonies with full counterpoint, then at the appropriate time, bring tuba back in for a 5 part harmony, and a full, 3 octave spread, and settle it back in on a calm I chord.
This weekend, I sat down and watched the Dream Theater live from Radio City Music Hall DVD. 3 hours of just kicking ass. Amazing group, amazing concert. It confirmed for me though, their keyboardist, Jordan Rudess actually reads sheet music during their shows. That blows my mind, with how intricate their playing is that hes reading notation for it. Wow. I plan to watch the DVD on the Killers I bought at the same time. I don't think it will be as interesting but I love The Killers and it will be neat to know their backgrounds.
I leave you this week with a tubachristmas warm up
Friday, September 7, 2007
The Holidays come early for musicians
Not many people realize that musicians start preparing for christmas gigs roughly in late July. my quintet was no exception. Being the main arranger of the group, this means I had to get cracking! Since our quintet is doing a little holiday concert thing, and our collection consists of mainly just arrangements made for background music, there was a large task ahead of me. Christmas carols always come off as simple songs when most are quite the contrary. You run into multiple issues when you arrange for a brass quintet. Most chords are only three notes, so you have one voice with melody, but you still have 4 voices to spread those notes, so you have some doubling, which changes the structure of the chord. Take the carol Joy To The World for instance. First chord is the I chord, and you have the melody starting on the root as well. The style of the song also requires the chord to be in root position, so tuba is now on the root of the chord. So you have three voices to duel over the remaining last notes. Assuming, for style reasons, you start with the melody in the 1st trumpet part, you can't have the 2nd trumpet on 5th of the chord. This would result in an open 4th between the same voice. Your best bet is to put the 5th on french horn, in the alto voice, so its displaced by an octave and is in a different timbre. Now you have two instruments to deal with, and only one note in the chord left. You can't give the trombone the 3rd of the chord because then its only a third above the bass, resulting in muddy sound andif you take it up an octave you have a large gap in the voicing and an odd interval between horn and trombone. So you put the third on second trumpet, down an octave, to form a lovely minor 6th, and you put trombone in octave with tuba. Ok, so time for beat two...
I decided we needed a hanukkah song if we're going to perform in a public place like a library. What better option than the Dreidel song. I was concerned though, I was only familiar with the 4 bar section "Dreidel dreidel dreidel, I made you out of clay...". Little did I know there was a fast dance like section before it in D minor (the part I referenced before is in G Major). Now this is where it gets interesting. I frequently use midi's as reference for my arrangements. It helps me visual chord structure, and hear the accompanying rhythm better. Having just a chord progression to go off, doesn't help unless it sa church hymn, because the accompaniment rhythm is just as memorable as the melody, sometimes even more. So anyways, here I am confronted with a section of ethnic music, not familiar with at all. I want a klezmer sound so I always fall back on the open 5th and afterbeat patterns. So i work out the D minor section and come up with a real exciting, clap your hands, "Dreidel Dreidel Dreidel" thing. Then it hits me...Crap...I need to get from D minor to G major...A Folk tune doesn't normally require a transition like that, it has to happen fast. So I fell back on a modulation technique from theory 3 in college. D is the 5th of G major. The melody ends on D, so I have the melody voice hold the D, while a solo fanfare starting on D mimics the opening, which fanfares on A, which is the 5th of D, so the D fanfare reminds the ear of the opening, and the next tonic you expect to hear is G. So in two bars, I'm able to make a transition to the major 4th of the original key. I was happy. It fit the style and all. Crisis avoided.
I decided we needed a hanukkah song if we're going to perform in a public place like a library. What better option than the Dreidel song. I was concerned though, I was only familiar with the 4 bar section "Dreidel dreidel dreidel, I made you out of clay...". Little did I know there was a fast dance like section before it in D minor (the part I referenced before is in G Major). Now this is where it gets interesting. I frequently use midi's as reference for my arrangements. It helps me visual chord structure, and hear the accompanying rhythm better. Having just a chord progression to go off, doesn't help unless it sa church hymn, because the accompaniment rhythm is just as memorable as the melody, sometimes even more. So anyways, here I am confronted with a section of ethnic music, not familiar with at all. I want a klezmer sound so I always fall back on the open 5th and afterbeat patterns. So i work out the D minor section and come up with a real exciting, clap your hands, "Dreidel Dreidel Dreidel" thing. Then it hits me...Crap...I need to get from D minor to G major...A Folk tune doesn't normally require a transition like that, it has to happen fast. So I fell back on a modulation technique from theory 3 in college. D is the 5th of G major. The melody ends on D, so I have the melody voice hold the D, while a solo fanfare starting on D mimics the opening, which fanfares on A, which is the 5th of D, so the D fanfare reminds the ear of the opening, and the next tonic you expect to hear is G. So in two bars, I'm able to make a transition to the major 4th of the original key. I was happy. It fit the style and all. Crisis avoided.
Thursday, September 6, 2007
A thought or two...
Well I must start off this blog with a RIP to Luciano Pavarotti, and hopes of peace and patience for his family and friends. Someone I work with was a friend of his and basically feels after having dinner with him last year, she is glad he no longer is suffering. Pavarotti is an inspiration to me, not just because of his musical skills, but his ability to bring the art he loved so much to the forefront of popular culture. Him, with the Three Tenors, brought a kind of cool to the opera style singing. Of course, one of my all time favorite recordings of him is the duet of My Way with Frank Sinatra. I'm sad about his passing, even though I am not a singer. But as it always is, the art is bigger than the man and the music will never go away.
And the music goes on with me and the brass quintet. The quintet has officially been hired to play at the library on December 8th. I am scrambling to get some more christmas arrangements done in time to rehearse them. So far, Carol of the Bells, Good King Wenceslas and Joy to the World are done. I want to work on the dreidel song, I'll start tonight I think. This will be the groups first headlining show, so it should be exciting.
And the music goes on with me and the brass quintet. The quintet has officially been hired to play at the library on December 8th. I am scrambling to get some more christmas arrangements done in time to rehearse them. So far, Carol of the Bells, Good King Wenceslas and Joy to the World are done. I want to work on the dreidel song, I'll start tonight I think. This will be the groups first headlining show, so it should be exciting.
Wednesday, September 5, 2007
CD Review - Symphony X
As my musical tastes expand and become more public, I had decided to review CDs in this blog. This is the first one.
Symphony X, a progress and symphonic metal band, recently released "Paradise Lost". I was initially drawn into listening to this album by admiring its incredible album art while processing new A/V at the library. The art is stunning and moving, I cannot describe it more than that.
I took a listen to it last night. Very good stuff, I highly recommend it. Very clean section transitions are highlighted with some of the most bad ass shredding on lead guitar this side of Slash. A few tracks in the middle commit musical suicide (fade out instead of a composed ending...I don't like that) but overall, everything is powerful. The album starts off with an instrumental composed by their guitarist, Michael Romeo. His ability to orchestrate is quite impressive. He may want to even think about trying his hand at classical composition, due to his great ear for timbre. This band, which was no shock of mine, is about to go on a European tour with who else, but Dream Theater. I definitely plan to take a listen to their older albums. This band is very odd I think in promoting the solo efforts of its members as well. I think thats commendable. So I give this CD an 8.5 out of 10. They could have gotten higher if they played a little bit more on top of the beat to create a better driving feel. Most of their songs are played on the back end of the beat like rock and swing, but this CD was a definite welcomed surprise.
I started work on an arrangement of Good King Wenceslas. It kicks too.
Symphony X, a progress and symphonic metal band, recently released "Paradise Lost". I was initially drawn into listening to this album by admiring its incredible album art while processing new A/V at the library. The art is stunning and moving, I cannot describe it more than that.
I took a listen to it last night. Very good stuff, I highly recommend it. Very clean section transitions are highlighted with some of the most bad ass shredding on lead guitar this side of Slash. A few tracks in the middle commit musical suicide (fade out instead of a composed ending...I don't like that) but overall, everything is powerful. The album starts off with an instrumental composed by their guitarist, Michael Romeo. His ability to orchestrate is quite impressive. He may want to even think about trying his hand at classical composition, due to his great ear for timbre. This band, which was no shock of mine, is about to go on a European tour with who else, but Dream Theater. I definitely plan to take a listen to their older albums. This band is very odd I think in promoting the solo efforts of its members as well. I think thats commendable. So I give this CD an 8.5 out of 10. They could have gotten higher if they played a little bit more on top of the beat to create a better driving feel. Most of their songs are played on the back end of the beat like rock and swing, but this CD was a definite welcomed surprise.
I started work on an arrangement of Good King Wenceslas. It kicks too.
Monday, September 3, 2007
Soundtracks of life
So I was reflecting on a question I was asked a few years back which was kind of odd, "If your life was a movie, who would you have do the soundtrack? what type of soundtrack would it be? Would it be pop music? Original score? A Mix?"
At the time I took this question as a weird way to ask about your favorite music and performers. I have kind of thought about it though. I think my music would have to be a mix of original score and popular music. To answer this question accurately, you have to make an important life decision. Is your life going to be a comedy or a drama in the eyes of the audience. Is it an adventure? Who's directing your life? Is it an independent "film"? Is it a dark movie? Would Tim Burton be involved in the project? If So, you're going to have to hire Danny Elfman. So how epic has your life been? Will it require a full orchestration to support your story? Or is it more personal and a simple piano score would get the job done?
This question though is an odd one for musicians, because music is part of their life, so their own performances and pieces would have to be included in their story. So with all this being said lets break it down.
I'm a fairly solitary person, socially, so I can't see a full orchestra being needed, and considering I live a pretty unique life path, John Williams definitely is out. So is Howard Shore.
I have quite stretched musical tastes, very diverse, so I will need a music supervisor to pick music from the musicals I've done to convey different periods of my life. Some favorite musical music includes Secret Garden, Guys and Dolls, Fiddler on the Roof, Seussical (laugh all ya want, theres some fun brass parts), and Gypsy. Some symphonic works will have to be included due to playing in an orchestra, so I would have to have some Beethoven and Howard Hanson quoted. And since I've recently started going to rock concerts, some 80's Hair rock will have to thrown in. Pretty artsy movie we got so far.
Being a pretty unique person, you can't have too much already made music in the soundtrack. Most of the track will have to be original score. I am thinking Thomas Newman, of American Beauty and Shawshank Redemption fame to put together the score for my movie. I think his music would be able to put some sense and feeling into what I do with myself. I would be interested in who you people would pick for yours and why. I think my soundtrack would have to include one track by the Killers though, simply because I'm a fan. Also some Queen, maybe even get the DT involved. Oh, and of course, Orange Snowball.
So lets summarize:
The original score would be for small ensemble, composed by Thomas Newman
It would contain tracks from OAP, DT, Killers, and Queen.
Some moments of Beethoven and Howard Hanson to include my classical work.
Maybe a song or two from Gypsy, Guys and Dolls, Secret Garden, Fiddler, or Seussical
Man I think that really sums up my life by analyzing my musical tastes...crazy!
Peace and hope everyone had a good three day break.
At the time I took this question as a weird way to ask about your favorite music and performers. I have kind of thought about it though. I think my music would have to be a mix of original score and popular music. To answer this question accurately, you have to make an important life decision. Is your life going to be a comedy or a drama in the eyes of the audience. Is it an adventure? Who's directing your life? Is it an independent "film"? Is it a dark movie? Would Tim Burton be involved in the project? If So, you're going to have to hire Danny Elfman. So how epic has your life been? Will it require a full orchestration to support your story? Or is it more personal and a simple piano score would get the job done?
This question though is an odd one for musicians, because music is part of their life, so their own performances and pieces would have to be included in their story. So with all this being said lets break it down.
I'm a fairly solitary person, socially, so I can't see a full orchestra being needed, and considering I live a pretty unique life path, John Williams definitely is out. So is Howard Shore.
I have quite stretched musical tastes, very diverse, so I will need a music supervisor to pick music from the musicals I've done to convey different periods of my life. Some favorite musical music includes Secret Garden, Guys and Dolls, Fiddler on the Roof, Seussical (laugh all ya want, theres some fun brass parts), and Gypsy. Some symphonic works will have to be included due to playing in an orchestra, so I would have to have some Beethoven and Howard Hanson quoted. And since I've recently started going to rock concerts, some 80's Hair rock will have to thrown in. Pretty artsy movie we got so far.
Being a pretty unique person, you can't have too much already made music in the soundtrack. Most of the track will have to be original score. I am thinking Thomas Newman, of American Beauty and Shawshank Redemption fame to put together the score for my movie. I think his music would be able to put some sense and feeling into what I do with myself. I would be interested in who you people would pick for yours and why. I think my soundtrack would have to include one track by the Killers though, simply because I'm a fan. Also some Queen, maybe even get the DT involved. Oh, and of course, Orange Snowball.
So lets summarize:
The original score would be for small ensemble, composed by Thomas Newman
It would contain tracks from OAP, DT, Killers, and Queen.
Some moments of Beethoven and Howard Hanson to include my classical work.
Maybe a song or two from Gypsy, Guys and Dolls, Secret Garden, Fiddler, or Seussical
Man I think that really sums up my life by analyzing my musical tastes...crazy!
Peace and hope everyone had a good three day break.
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