On Shifting Keys

Today’s reflections were sparked by a message from a friend asking the following question:

Question, how do you feel as an arranger, singer, and/or multi-genre musician about the practice of habitually shifting the keys of songs? One of my quartets casually shifts many songs up a tone or more as if it's nothing (including with little notice), and it's putting strain on me both vocally and conceptually. It's alright if the song is simple, but if there are mucho chromatics I have to perform integral calculus as I go, and it breaks my music memory. Can I put my foot down or am I being unreasonable?

It’s a good one, isn’t it? My immediate response was that there needs to be some sort of negotiation here – just because a different key is good for one or two voices, doesn’t make it good for all. And that if they are habitually picking arrangements that comfortably accommodate either low or high voices, but not both at once, they need to have a bit of a think about how they are going about this.

On the Liberalising of the Barbershop Style

One of the things that has happened in the five years since I stopped being a barbershop Music judge is that there has been a deliberate policy to frame both the category description and the way it is used in practice in ways that will encourage more new music. And you’d have to say it has been largely successful. We are hearing a much wider variety of songs in contest than we used to.

In part this has been about loosening rules so they express what is best practice rather than a ‘do-this-or-else’ approach. So, for example, the chord vocabulary is now presented in a hierarchy of ringability, rather than with the distinctions between chords that are allowed, those allowed under certain circumstances, and those not allowed. All chords are allowed, but if you want to score well, keep using lots of major triads and barbershop (dominant-type) 7ths as they are the most barbershoppy.

On Choral Courage

Having recently shared David McEachern’s wise observation that you can’t necessarily choose to be confident, but you can choose to be courageous, I’d like to share a story of choral courage I witnessed about a year ago.

Those of you who know me in real life are aware that last January my mother died suddenly and unexpectedly. She seemed happy and healthy when she spoke to my brother on the Sunday, to me on the Monday, and had lunch with her sister on the Tuesday. Then she failed to turn up to choir practice on Thursday. She never missed choir practice without warning.

Exploring Compensating Rubato with LaBOOM

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Saturday took my musical attention back to Munich, though my body stayed at home. The amenity of Skype allowed me to spend a couple of hours with LaBOOM quartet working on two new songs I arranged for them back in the autumn. They quite sensibly wanted to get this session done early in the learning process, to shape the overall concept of the songs before they’d got too settled in their habits with them.

The most challenging area we tackled during the session was getting a feel for compensating rubato. Their ballad is in a gentle ¾ time, and they had been feeling as quite strongly waltz-like. Our task was to ease this framework up into something slightly more flexible without spoiling the sense of poetic metre or the lilt that the time signature provided.

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