December 2, Tracie Heuring's Senior Recital

Tracie has a beautiful voice. This concert had less foreign language music – good. Both of the duets were great. I’m still trying to figure out the rules on entering and leaving the stage. During Rachael’s recital there seemed to be and exit and entrance separating each language change. This concert didn’t seem to follow that pattern. The only song I recognized was “My Ship” because we played it in jazz band. I have the feeling I should have recognized the Neil Diamond song and the encore song, but I didn’t. The reception: I’ve never seen so many different types of deserts in one place. I had one of each.

November 2, Rachael Blanton’s Senior Recital

I had been getting less and less nervous about my own

senior recital. That all changed when I saw the liquid chocolate fountain, the harsh white stage lights, and the elegant purple evening gown. Will I have to wear a suit? Do I still own a suit? The whole thing seems so formal as to be uncomfortable. I’d much rather play in a bar where the majority of people are more interested in hooking up or getting inebriated than listening to me. And what’s the deal with the foreign languages? I’m all for music therapy majors being held to the same standards as music performance majors, but I don’t particularly see the point for either. I guess I’d prefer to know what the singer is singing without having to read it in the program notes. Rachael seemed much more comfortable with the English songs in the second half of the performance, and I enjoyed them much more. (I’m so glad I play guitar so I don’t have to worry about what to do with my hands.) She really seemed to be having fun with “Chattanoogie Shoe Shine Boy”. I wish vocal majors’ concerts could have more “Chattanoogie Shoe Shine Boy” and less “Vergebliches Standchen.” I’m sure they feel the same way. Music is supposed to be fun. Right?

October 21st, Music @ Maryville

If you consider things in Beatles metaphors, as I often do, you can think about this concert in the following way. The Mozart piece was “I Want To Hold Your Hand.” Maybe revolutionary in its time, but these days it seems dated and stale. Aesthetically pleasing, but predictable - not a challenging listen. The Strauss was “Eleanor Rigby” – more layered, more textured - very imaginative without drawing outside of the lines. The Lutoslawski was “Revolution #9” – completely experimental. More a work of art than a mere song, the Lutoslawski required a response. It was the type of piece you either love or hate. I loved it.

October 13th, Salisbury & Impala Dexule @ Cicero's

I joined Salisbury as their keyboardist this past summer. The band had just completed their debut album and were looking to replicate the album sound in a live setting. Ed, the drummer, recorded piano tracks on the majority of the album’s songs. Some of these parts were simply reinforcing the songs’ harmony while in other songs they provided a prominent instrumental melody. As a band member I have been able to not only replicate the album, but also add some new parts. The song “Missouri” is in D major however it ends on the dominant (A). I added a little sequence of harmonic thirds to the end of the song travelling an octave from A3 to A4. Everyone in the band thought it sounded cool so it stayed. Soon Wil, the bassist began playing it with me. However he screwed it up every time playing a G sharp instead of a G natural. When I explained to him at practice before the show that because the scale originated on the dominant note it was a Mixolydian scale rather than a major scale he looked at me as if I was speaking in Latin – which I might have been. However, during the show he nailed it. Then he turned to me and said “Mixolydian, huh?”

http://www.myspace.com/salisburysongs

September 24, Symphony A to Z

Community & Education

Johannes Brahms, Piano Trio No. 3 in C minor, Op. 101

Dr. Henderson’s introduction of the composition included a description of two motives that unified the four movements, three successive notes moving to a conclusion, and the inclusion of measures in 5/4 and 7/4 time. While these pieces were clear when presented separately, I could not find them embedded within the work. This may be due to the fact that I do not consume classical music on a regular basis. Or these features may become more apparent upon repeated listenings. I spent a substantial amount of brain power trying to find the sour notes. (Dr. Henderson apologized in advance that the piano was extremely out of tune.) I didn’t hear this either. Maybe this was discernible only by those gifted with the sense of perfect pitch.

September 22nd, PLAY:stl Music Festival

dozemarypool (9:35-10:15) Blueberry Hill’s Duck Room

These guys delivered a blistering set at the PLAY:STL Music Festival. Their recent management agreement with Playback’s Laura Hamlett afforded them a prime festival slot. dozemarypool has been a fixture on the Saint Louis music scene for over 5 years. I used to work with Ryan (guitars/vocals) and Keith (bass) at Mars Music back in 2003-2004. They’ve gone through many derivations, staring as a five-piece and eventually pairing down to a trio when they released their album “Three Pieces” earlier this year. I saw them perform at Cicero’s over the summer and Keith was doing double duties as bassist and keyboardist. So it wasn’t a complete shock to learn that they have since taken on a fourth member, a full-time keyboardist. As a three piece they kept their sound full with a dizzying array of guitar and bass effects pedals. The new keyboardist adds an extra texture to this wall of sound. I look forward to hearing their sound progress as they utilize the keyboard as a melodic instrument rather than just a harmonic addition to previously keyboard-free songs. If you enjoy Radiohead you’ll dig dozemarypool. Make sure to bring ear plugs. They are always loud.

http://www.myspace.com/dozemarypool