February 10, Music at Maryville

Because we’re learning about the string section in Arranging & Orchestration, I focused on watching the violin and cello, trying to be observant of bowing patterns, double stops, and the use of open strings. Mendelssohn’s piano trio in C was enjoyable. When the violin and cello played rhythmically identical parts they, indeed, seemed to be using the same bowing patterns. The difference in timbre between up-stroke and down-stroke was much more pronounced on the violin than on the cello. While I never saw any open strings played on the violin in this piece I saw the cellist play his lowest open string – a C. David Halen played very passionately and by the end of the piece I noticed some of the bow hairs had broken loose.

The second section of the concert was more hit or miss. It featured songs of a Latin flavor, but I had no idea whether Miran was singing in Spanish, Portuguese, Italian, German, or other. The cello solo showed great proficiency, but was extremely dissonant and rhythmically confusing. I observed many double stops during this piece, most (if not all), utilizing open strings. My favorite selection was Ritual Fire Dance from (El Amor Brujo) by Manuel de Falla which delivered on the promise of its title.

February 9, Erika Althoff's Senior Recital

I’ve come to realize that I’m not usually impressed by the first half of a vocal major’s senior recital. This is not due to the performer, but due to the fact that seems to be where vocal majors are required to sing a bunch of songs by dead, white Europeans. The exception to this rule was the Mozart duet, which was very entertaining due to the movements and facial expressions of Erika and Erica. It was completely over-the-top and hilarious. I hope it was intended to be.

I was pleasantly surprised at the inclusion of several very modern pieces in the second half of the concert. Even though I was not familiar with “Come To Jesus”, “Only The World”, or “For Good” I found them pleasing due to their contemporary style. I thought the instrumentation of “May It Be” was a little awkward. Courtney was bowing long sustained notes on the bass while Gretchen was strumming a nylon string guitar on chord changes. The sharp attack and quick decay of the guitar along with the slow attack and long sustain of the bass made the rhythm a little confused. I think this could have been remedied either by more frequent strumming (like constant quarter notes instead of whole notes) or by the addition of a percussionist. The piece with Jaime on djembe had some balance problems. Even though Jaime seemed to be playing softly, she still tended to overpower Erika at points. This made me contemplate the amount of microphones and amplifiers I will probably need at my own recital.

Erika’s parents make good bagels.

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.