Miscellanous Thoughts from Holland Harmony College

This is another of those posts where I ruminate on the observations that collect in my notebook over a stimulating weekend, this time from my adventures with Holland Harmony. Many of these, I discover now I try to organise them, are about making connections between things I had already been aware of in ways which illuminate both.

Miscellaneous Observations from BinG! Harmony College

Cy Wood in actionCy Wood in actionAs I reported earlier in the month, I had a stupendously enriching time with the good people of Barbershop in Germany at their Harmony College. Having done all the big-picture reflections when I first came home, I find my notebook has a pile of interesting observations, none of which is big enough to blog about in themselves, but all of which are too useful not to share.

So here is a pleasant miscellany of observations of things I found stimulating. Mostly, I see now I write them up, because they were specific instances of general principles I have been writing about over the last couple of years. Always good to see something you theorise about played out in real life.

Helping Holland Harmonise

The Buzz: They did sing an 8-parter with Crossroads, but I had run out of battery by then, so no pic...The Buzz: They did sing an 8-parter with Crossroads, but I had run out of battery by then, so no pic...

The weekend after my adventures at BinG! Harmony College, I was at serving on the faculty at another Harmony College, this time in the Netherlands. I’m going to try to avoid talking about Holland Harmony’s event primarily in terms that compare it with Germany’s and treat it as a subject in its own right as it deserves.

But just to get the comparisons out of the way, I’ll note that it wasn’t just the proximity in dates that make it tempting to consider them side by side. They both had a similar structure, with a contest on the first evening, an informal sign-up show on the Saturday night, and a final show-and-tell performance session to finish the weekend. There were also several faculty members in common between the two events.

Back with Brunel

Brunelsep16I spent Saturday with my friends at Brunel Harmony in Saltash. They’ve seen a lot of changes since I was with them last year, and will be heading to LABBS Convention in the autumn with a rather smaller chorus than last year and a new director out front. And the changes had meant they were slightly behind themselves in terms of the preparation schedule they might have chosen.

But don’t let any of those circumstances worry you: they are in fine fettle and good voice. There is an impressiveness to the body of sound you can generate with a large chorus, but the clarity a smaller group can produce has its own exciting qualities. And notwithstanding the changes, there is still plenty of continuity of experience, which allowed us to build on last year’s work on breath and characterisation.

Conducting Variable Metres

I mentioned recently an email with a couple of good, nitty-gritty questions about conducting technique. Having looked last time at how to wean an inexperienced choir onto needing only a single prep beat to come in on an anacrusis, today we’re onto a more complex conducting task:

How do you conduct something such as Gibbons Short Service, where there is no consistent number of beats to the bar?

This is an interesting question, as the available approaches are inflected by somewhat conflicting questions of technique, pragmatism and musical context.

I know conductors who would see the correct answer as: you change your conducting pattern every bar to give the right number of beats. And, whilst this is a sensible answer in that it will make sense to modern musicians accustomed to modern barring and modern beat patterns, I’m not sure it’s the most helpful answer to someone facing this challenge for the first time.

Conducting Anacruses

I recently received an email from a conductor I worked with earlier in the year with two really good questions. They thing I liked about them was that they were at one level nitty-gritty practical questions about the detail of what you do with your choir, and at another opened out into general principles with a much wider applicability than the specific technical instance he was asking about. Perfect blog-post material.

Here’s one of them:

Bringing in a less able group on an up beat has been problematic. Would you advise sticking to the proper method, and educating them, or take the line of least resistance and give them a down beat "for nothing"?

See what I mean? I’ll start with talking through the step-by-step process I’d use in this situation, then explain some of the thinking behind it, and then finish with some thoughts on the ‘line of least resistance’ dynamic, which pops up in so many different circumstances.

On Hypnagogia

Talking of not romanticising creativity makes me want to celebrate Sally Swain...Talking of not romanticising creativity makes me want to celebrate Sally Swain...Just sharing with you a nice penny-drop moment I had earlier in the year when a friend shared a short article on hypnagogia. No, I didn’t know the word previously either, but I was delighted to learn it, as when something has a word you know that other people share the experience of it too.

I had long been a bit perplexed that, whilst the standard descriptions of sleep phases placed REM sleep in the depths of the night, preceded and followed by deeper phases of sleep, I frequently experience involuntary rapid eye movements right at the edge of sleep - as I doze off or while waking up. This is sometimes, though not always, accompanied by light dreaming - and I can often wake myself up by being surprised at the dream images. Now I know this state is called hypnagogia, I can stop being perplexed by it.

Helping Red Rock Harmonise

Red Rock HarmonyLast weekend took me down to Teignmouth in Devon to work with Red Rock Harmony as they prepare for their first outing to the Ladies Association of British Barbershop Singers Convention in the autumn. The chorus is about five years old, but has only recently got to a point in their development when they felt like taking the leap into contest on a national stage. Some of their number have experienced this with other choruses, but many will be new in.

I arrived at the point where their convention songs were memorised reasonably confidently, but still needed bringing into focus in places. The chorus were pretty consistently singing the right notes, but not always with a full grasp of why those particular notes were there, so the chords weren’t always locking into true.

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