A Cappella

On Sunday I made another coaching visit to my friends in Bristol Fashion chorus as they start their pre-convention season of contest preparation. They had had the foresight to record their contest package on their rehearsal night last week and send them to me in advance, and it was great to be able to spend some time on the way down formulating ideas for our day’s work from a really up-to-date snapshot of their work.

One of the issues the chorus is grappling with how to get the benefit of deep familiarity with a song whilst keeping their relationship with it fresh. This is a dilemma that all ensembles face in some way or another. You need new repertoire to expand your artistic horizons and stretch you emotionally and technically; but you also need to be able to get beyond the practical issues of getting the notes and words right to be able to develop depth and insight. So the question is how to manage this balance without familiarity collapsing into autopilot.

Celebrating the back-to-school season with two opportunities for barbershop arrangers:

Having cleared my backlog of bespoke arrangements, I am now inviting requests for new ones. I’ll be looking for about 12 to do between October and April – so, if I get up to 12 requests, I’ll do all of them, but if I get more I’ll have to pick which ones to do. This post is, firstly, to talk about the logistics of the process, and secondly to explain how I’ll make the choices if that becomes necessary.

So, first the key dates:

Please get your requests to me by Tuesday 21 September 2010 and I will let you know by the end of the month if you’ve been scheduled, and for when.

If you’ve already been in touch trying to get ahead of the game, you’ll need to send me your request again as I have no way of knowing if you’re still interested unless you tell me you are!

When you make a request, please include the following information:

Funnily enough, picking songs to arrange is something I no longer have much difficulty with, since I’m mostly arranging to order songs that other people have picked. But the people I’m arranging for sometimes have trouble with this, as do many arrangers – it was something that came up in conversation several times at our arrangers’ day back in April 2009. And even though I don’t have to do this so much these days, I’m interested in it, as it is something that didn’t come naturally to me at first, so I had to learn how to get better at it.

Like many skills, a good start is looking at people who are already good at it and see what they do.

I spent last Saturday working the current BABS silver medal quartet, Crossfire. It was a pleasingly varied day, focusing at different points on matters both of technique and artistry, and on big-picture strategic decisions and fine-tuning details.

One area we worked on that has had me reflecting further since was the relationship with performance traditions of arrangements that are strongly associated with particular quartets.

Walking my Baby Back Home: Photo by Klaus Herzmanatus. Actually, this arrangement works quite well :-)One of the things that happens when you are a barbershop judge is that you get to hear multiple performances of the same arrangement. (You get it as an audience member too, but you get it more as a judge as you can’t pop out for a beer and a sandwich during the early afternoon session.) And sometimes you notice over repeated hearings that certain arrangements seem consistently to elicit sub-optimal performances.

These are arrangements that, on the face of it look fine. If there were obvious technical or artistic flaws with them, they wouldn’t get picked up by lots of groups. So it takes quite a few hearings to notice that whenever ensembles sing them, they always perform better in the other song – they’re more synchronised, better in tune and more naturally expressive. I’m not going to name specific arrangements, as I don’t think that would be polite. Rather I’ll just invite you to compile your own lists from your own listening experiences.

Toronto Northern Lights in rehearsalWell, I said in my last post that Toronto Northern Light’s package that won them third place at the Barbershop Harmony Society’s International Convention recently deserved a post of its own, so here goes. It doesn’t appear to be up on Youtube so I’ll start off by describing what they did for those who haven’t seen it, and then highlight a few points as to why I admired it so much.

The first song was a medley of parodies on the theme of robots who wished they were human. All the chorus were costumed in grey overalls with all their visible skin painted in silver make-up except their director, Steve Armstrong, who played the part of the human operator. At the end of the first song, he sat down at a desk and went to sleep, while all the robots actually came ‘alive’ as humans to sing their ballad, ‘Over the Rainbow’ under the direction of their assistant director, Jordan Travis. At the end they returned to their robot world, leaving their operator to wake up with a hunch that something unusual had just occurred.

Bird's-eye view of the Harmony Marketplace in the Pennsylvania Convention Center
Last week saw the Barbershop Harmony Society’s annual International Convention come to the historic city of Philadelphia. It was a musically rich and socially warm event, as ever, and I came home feeling that such full immersion in the artform has made me a better musician.