The Baroque sonata form often contained a 3/4 or 6/8 meter movement, and horns would feature prominently. The horn can also sustain a pedal tone or sound the root of a chord to support the other four instruments.

There was lots ‘o repertoire written for woodwind quintet in the 20th century. There is a woodwind quintet nestled in with a string quartet, augmented percussion, and celeste in Benjamin Britten’s Turn of the Screw. Britten wrote the score for “eleven solo instruments,” and organized his twelve-tone row into triadic tonal centers so the ear hears common practice harmony.

Three of the woodwind quintet members double on other instruments. Flute/alto flute/piccolo, oboe/English horn, clarinet/bass clarinet and C clarinet. Britten’s orchestration is amazing. He creates a broader palette of pleasing sound than any other 12-tone composer.

The opera is based on the Henry James novella, and is every bit as scary. There are only four characters: a young boy and his older sister, the new governess, and two very sinister servants, a woman and a man. It’s a plum role for a boy soprano, and is not often performed.

I had a stupendous senior year in college. Actually two years. Sonoma State University in the late 70’s, faculty all Berkeley ph.d.s, slathered in non-western and experimental music. A lucky, lucky woman. I’ve been fortunate in having an arts management career on both the east coast and the west coast. Austin is not as fertile ground for me, or at least not yet. I’ve been fortunate in what I’ve found, and tonight I am very grateful for that.

This is the cool-down for The Good Musician, and I have learned quite a bit, especially about the pedagogy of blogging. Quite a challenge with a day gig, performing, and a tour. I’ll still write about music in my other blog (shameless promotion– http://friedokraproductions.blogspot.com), but you’ll have to put up with the rest of my nonsense if you dare.

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Gardner also illustrates the relationship of the chakras to the overtone series. When you produce a pure tone, either vocally or instrumentally, it sets up vibrations that are strong enough to be heard, occurring mathematically on a vibrating string. Going from the root to the octave, the fifth, fourth, third, and so on…

This is one of the most effective, quick warm-ups for a flutist, and a tip I give every student: Play a low C, then focus the airstream slightly to sound the octave, the fifth, through the overtones, ascending as far as possible and still maintain some tone quality, then descending, one breath. Don’t force, feel your way up and down until you can seamlessly adjust your embouchure in that especially challenging third octave. It will limber up your chops in less than 5 minutes.

Same thing with voice. Start as low as comfortable and hum into your nose as high as you can, smoothly turn around and come back down to the “fry,” or when your voice rumbles in your chest, like a monster talking. Same quick results as above.

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It has nothing to do with judgment, grades, power trips, ego eruptions, the elitist attitude that frequently assaults music. It doesn’t matter what “kind” of music it is. It has to do with being one with The Vibration of the Universe. Literally. Tuning to the Ultimate Tone. Blissed out on sound.

When you are attentive to the detail, the nuance that makes that particular piece thrilling to you, you are best able to thrill your listeners. I think of myself as a string, or pipe–a musical conduit to channel what the composer wanted us to hear as well-tuned and compelling as I am able. Able through practice, by paying attention to the basics so that the sense of the music as described by the composer has captured me in its flow, and I am able to include my listeners in that flow. That goes for all music, written or not, structured or extemporaneous, solo or combo.

It doesn’t stop there. Your listeners take that flow and are transformed, radiating those vibrations everywhere they go. No worries about whether it was note perfect, who cares if there’s a kid in the background somewhere, it just means that you’re reaching an important audience. New minds to introduce to music.

I hold myself responsible as a good musician to be an exquisite human instrument, whether singing, playing, whatever–fully engaged in mindful musicianship.

So send me a hundred words on your Deep Thoughts about Music.

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Tchaikovsky considered it crap. A sell-out. None-the-less, it is one of the most played compositions since its introduction to the US in the 1930’s.

Somehow, probably because Arthur Fiedler and the Boston Pops featured it on a Fourth of July concert, thinking the bells and cannons a nifty way to observe the occasion, we Americans have velcroed it to our summer consciousness in parks and auditoriums and concert halls across the country.

I wonder how many people know they are celebrating the birth of our country with music celebrating the defeat of Napoleon by the Russians?

Here’s Seiji Ozawa…

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For instance, you could assign an octave in the middle range the instructions: place thumb tacks on the hammers of the black keys from middle C to C1. Then insert erasers among the white key strings from middle C to C1. Which reminds me of the cembalo we heard in Budapest.

ORGAN2/ASLSP As Slow as Possible is the longest, slowest composition ever. A special organ was built in the church of St. Burchardi in Halberstadt, Germany expressly to play this piece. The idea is that the piece will play continuously for the next 639 years (adjust for age of article) to commemorate the original organ in that church, which just so happened to be the very FIRST organ ever built, ever. So–the longest, slowest composition ever for the very first organ ever.

I think that is a dazzlingly cool idea. So then check out 4′ 33″

I played his Three Pieces for Two Flutes (1935) with a fellow flutist in college. An unexpectedly beautiful composition. I highly recommend it for students level 5-6 and up.

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King Wenceslas (Szent Vraclav) statue, Wenceslas Square, Prague, Czech Republic.
Photo by TGM.

Prazska Muzejni Noc

Web designers: Czech out this gorgeous Web site!

Anniversary of 5th Prague Museum Night, a collaboration among the National Museum, Prague Public Transport Company Inc., and Association of Museum and Galleries of the Czech Republic. 25 cultural institutions and 51 sites were involved. Happens on Thursday evenings. Admission and transportation are free, except for a free will donation to two national sites.

The evening also includes concerts, recitals, movies, theatre, and dance performances, public readings, lectures, and guided tours.

Wouldn’t it be wonderful if every city in America did that? Can you imagine the upsurge in learning in our schools? The rise in the quality of our national intellect? When every child has access to quality instruments, instruction, music, investment of time and puts all that body of knowledge into creating more music? We would be better listeners. We would appreciate how music is inextricable from the human experience. That music sculpts vibrations into rainbows of sound.

It’s not political, it’s cultural. Nurture music and the arts wherever you are.

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James and Gus photo by John Katz. Used with Gus’ permission.

The Good Musician interview with Dallas-based composer and sound designer, James Neel, principal of James Neel Music House. James is the very definition of “a musician’s musician.” And he’s been doing it for a long time. Maybe this interview will stir up some of the old gang to comment, hint, hint.

1. Who is your greatest unsung influence (as opposed to favorite famous composer/performer)?

Richard King Hamilton – now living in Los Angeles (incredible musician – all world). When I was a junior in high school, he showed me that you could make a living as a musician – that there was a life out there -that there was something going on. I stopped thinking about being a chemistry major in college, and going to Purdue, or being an English major. He told me to go to North Texas State, and play in the lab bands – but above all, be a composition major, and learn everything that I could (lead that horse to water…). My senior year, I was the president of the orchestra (the best in the state of Florida) – went to the Stan Kenton Clinics, studied with Johnny Richards, met Tom Boras and Lou Marini. Had sessions with Cannonball Adderley and Donald Byrd – and met Leon Breedon, who later was my saxophone teacher at North Texas. If Dick Hamilton hadn’t taken the time to let me hang out with him…nothing. However – how do you compare any influence to hearing Debussy, and Miles, and the Beatles. (Yes, I like Cold Play, Air, Snow Patrol, and the soundtrack to Lost In Translation – Elmer Bernstein kills -so does Alan Sylvestri, Moby, Stevie Wonder, Michel Legrand) – the list goes on forever. Leon Breedon’s a cool guy, btw.

2. How did they influence you?

See the above. To be redundant, Debussy, for the beauty of all that is orchestral. Miles, for the unbelievable purity of his sound and his sense of space and time. And the Beatles, for making creative music fun. Dick Hamilton for being an inspiring influence, and for telling me – you can do this. Go do it.

3.a. What is your musical background (formal and informal)?

Flutophone in fifth grade (I remember thinking, “Gee, this thing sounds really stupid”) – to violin in sixth grade (because my girl friend was playing violin) – to trumpet in junior high (yep, she switched to trumpet) – to first chair in all-state orchestra, Florida 1962 (which I was unable to properly attend…I had had my braces removed, and I couldn’t play a middle C) – to saxophone at North Texas. I was playing lead alto in a lab band six months after buying my first sax. Four and a half years later, after almost finishing my degree, and getting busted (not enough space here, for that), I bailed and drove out to LA, following another girlfriend, who had run off with my best friend. (Girls have had more to do with the music business than teachers will ever own up to). After that, I played in the rock band Green, in Los Angeles, and with various people in Dallas. Green’s drummer, Gary Casebeer, is now my ex brother-in-law – there go those girls, again. Most of what I’ve learned about music came later, though. Creating soundtracks for TV and radio commercials afforded me the opportunity to create whatever came to mind – and get paid for it. What a concept. The same goes for writing, playing, recording, mixing and mastering soundtracks for documentaries and corporate films. All of this led up to creating the sound design for Hasbro and Lucasfilm’s “Star Wars Trivial Pursuit” DVD game (now in stores, everywhere). I also had to edit and pitch shift John Williams’ scores. I kept dreading a 3 AM phone call, and hearing a voice saying, “Dude, you butchered my music…what’s your address?”

3.b. What obstacles have you encountered in the music business, and what did you do about it?

The main obstacle, besides low-down, cheatin’, bottom dwelling, scum sucking, club owners and the over-the-hill- bitches that buy their cars, booze, and clothes…you know who you are – the rest of of you are okay – the biggest problem was arriving in Denton, circa 1963, Miles Davis albums in hand (THE MAN), and slowly realizing that there was a PROBLEM. My landlord told me that I couldn’t have a “darkie” as a roommate. That would’ve been a friend of Tex Allen, brother of Phylicia Rashad. Tex was then rooming with Billy Harper (look him up). Tex’s friend was just trying to buddy up. And I was like, fine – he seemed like an up-standing young man, like me. I didn’t know that all of the black students (excuse me, Afro-Americans, a term I loathe…what am I? – a Euro-American?) had to stay “off campus,” across the tracks, so to speak. Well, I also didn’t know “across the tracks.” Couple of years later, I watched the movie “Lilies of the Field” and “In the Heat of the Night” – Sidney Poitier was THE MAN. All you had to do, was look up at the screen – his talent and humanity screamed at you. Of course, it was just a movie, but…anyway, I’m going to vote for Barack Obama. He’s got big shoes to fill…I’m thinking after seeing his ears, he’s probably got even bigger feet. Miles would like that…So, I don’t know what I did to “overcome” it. I do know that I open the door for ANY woman, black, white, or green. I hold the door open, because…she’s a woman. End of story. My mother would like that.

4. How important is it to get a formal music education?

I’m going to go out on a limb, here (where I belong). It depends on how talented you are. If you’re playing clarinet, and aspire to be a teacher, you have to get a “formal education” – I’m picturing a tux… On the other hand, if you’re Jaco Pastorious – forget about it. Just get out there. I defy you to picture Jaco in a tux. On another note (ahem), Andy Timmons went to the University of Miami – I would hate to have to notate his guitar solos…the hand is always quicker than the eye. But education is where you find it – a personal teacher, a college…or the school of hard knocks. You can never get enough. I remember BB King talking about how he wished he “knew more about chords.” And I thought, well, maybe I’m glad you don’t…I can picture a guitar teacher, after hearing BB play a few licks – “Oops, time to go…no charge.”

5. Do you have an articulated musical philosophy? What is it?

Music is the art of sound in time. You can have art, and you can have sound. If you can’t put them together, and make it work for you, and the people that love you – try doing something else. On the other hand, there are only three, pure diminished seventh chords – the others are all knockoffs (inversions). Timbre and voicings are the glory of orchestration – the same goes for playing guitar. Also, I have noticed, over the years, that there are two distinctions in delineating musicians, per se. Some people “create,” and the rest are talented, and can enjoy playing someone elses “creations.” You know who you are. People who want to play and blow their brains out their ears are different from people who can make an instrument work, and enjoy just playing what they’ve learned, or what they can “read.” The symphony orchestra is filled with people who would listen to John Coltrane and think, “Oh well.” Gotta love everybody. Chaka Kahn doesn’t need a lead sheet. Jaco Pastorious listened to C.C. Rider on a Saturday night in New Orleans, showed up at the gig on Thursday, and without being able to read music, played the entire set flawlessly, breaks and all, because he heard it, once…and he remembered it. Heifetz played the hell out of anything put in front him, and played from memory at the concert. Hans Zimmer doesn’t read music. Why should he? He has orchestrators and copyists to hand his music over to.

6. What are your goals as a solo musician? Collaborative musician?

I’m pretty much done – and happy. Grandfathers are happy people, for the most part. I am trying to play blues guitar better, live…love guitar.

7. What is your dream music gig?

I’ve already had it, a few years back, playing flute in a Deep Ellum club. I sat in, one night, with Andy Timmons, Cindy Horstman, Mike Medina, and Keith Carlock (before Keith moved to New York). I floated off and had a great time. A few weeks later, sitting in at the same gig, I sucked…couldn’t wait to start the car. Can’t explain it.

8. If you could perform with anyone, anywhere, any genre, who/where/what would it be?

A nice, cozy blues bar, every Friday night. I would play for free. Love that music. The other players need to be just as bad as I am. I wouldn’t want to step out of line.

9. What advice would you have for an aspiring musician?

Go for it. But it’s a really tough life, and there are a lot of hangers on, and flotsam, out there. If you can’t stand to live without it, life won’t want you to. I was recently asked how I had had such a long career in the music and sound design business, and I said, “Sheer defiance.”

James Neel, circa 1969. Photo by The Good Musician

Visit the TGM Exclusive Interview page for more cool musicians…

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Notenspur Music Trail opens fall 2008. It’s a 4.7 km signposted walking trail through musical wonderland. Sort of a pilgrimage to experience the homes and churches of an exceptional musical city. Leipzig was home to so many greats, poets as well as musicians and artists. But the city excels in nurturing music.

This relatively small area–the centrum being only a few dozen blocks or so, is lush with memories and memorabilia of J.S. Bach, Felix Mendelssohn-Bartoldy, Clara Schumann, Richard Wagner, Edvard Grieg, Gustav Mahler, et al. In amongst the plazas are the Leipzig Opera House, the ultra-modern Gewandhaus, and other cultural buildings.

Here are some photographs from Leipzig for your visual pleasure. Sample the music of the composers, educators, and performers who bloomed in Leipzig. All photos by The Good Musician.

Thomaskirche–Bach’s final posting. He is buried in the kirche.

A statue of the man himself, courtyard at thomaskirche.

One of these days I’ll learn how to mess with sizing images…

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Organist John Schmidt chose the Sonata in A Major, Op. 65, No. 3 as the prelude to the evening. AVAE, under the leadership of Kenneth Sheppard, performed two motets in new editions by Southwestern University musicologist and Mendelssohn specialist J. Michael Cooper–the Magnificat, Op. 69, No. 1, and the Nunc Dimittis, Op. 69, No. 3. These are sung in English, as Mendelssohn intended in his original manuscript, which he managed to publish before his untimely death.

The highlight of the evening was a superb performance by Georgetown’s Trey Gurley in one of the most beloved boy soprano solo anthems, Hear My Prayer. His pure, clear voice displayed an exceptional grasp of tuning and musicality for a singer his age.

John Schmidt anchored the program with the Prelude and Fugue in C minor, Op. 35, No. 1. The piece is almost orchestral in nature, with an intricate fugue statement in a slightly unconventional rocking 6/8 meter. A fitting finish to a most satisfying musical evening.

Photos by The Good Musician. Coming soon: a series on the Chorus Austin Central European concert tour.

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Image details: Mendelssohn served by picapp.com

Neighboring Georgetown is building a nationally recognized mega-festival of the arts. The Georgetown Festival of the Arts is an exemplar of community involvement producing a highly educational, thoroughly interactive, fun place to be for all ages. Kids can explore an instrumental petting zoo, learn the history of the dulcimer, and play along during a performance. Art in the Park ran May 31-June 1, and featured two days of fine arts shows and sales in the lovely San Gabriel Park. Georgetown even has it’s own Festival Pyrotechnician.

This coming weekend, June 5-8 is all about Mendelssohn in Georgetown. Four jam-packed days with lectures, concerts, symposia and the gorgeous sounds of the gifted brother and sister composers during early nineteenth century Romantic. It is to die for. Handel, Haydn, and Schubert were featured in earlier festivals, and word is they were equally stunning.

Fortunately for all you Good Musicians, Southwestern University, one of the sponsoring organizations, and the primary Mendelssohn in Georgetown venue, added a world-renowned Mendelssohn scholar to their already stellar music faculty. Dr. J. Michael Cooper’s source-critical editions of works by Felix Mendelssohn Bartholdy and his sister Fanny Mendelssohn Hensel are examined, discussed, and performed in non-stop action this weekend.

Ellsworth Peterson is the powerhouse impresario, along with The Georgetown Symphony Society dynamos–Penny Plueckhahn, Florence Gould, Nancy Bryan, and Bob Horick. These folks have contributed to the quality and success of the annual event.

Austin Vocal Arts Ensemble, directed by Dr. Kenneth Shepard, sings Cooper edition motets and an anthem for a Cathedral Evensong Friday, June 6 at 8:30 p.m. in the Lois Perkins Chapel, located right in the middle of Southwestern University. On Sunday, June 8 at 4:00 p.m. in the Klett Center for the Performing Arts at Georgetown High School, Dr. Shephard will conduct the Mendelssohn Festival Orchestra, Chorus Austin, and the San Gabriel Chorale in the Cooper edition of St. Paul.

Along with an astounding line-up of performances–the Miro Quartet AND the Shanghai Quartet, together, guys–this is the festival to attend for musicology of the highest caliber, grab a chance to make music in workshops with the pros, and get to hang with the VIPs. Visit The Georgetown Festival of the Arts site, or contact them at 512-639-0433 or www.GtownFestival.org.

Image details: German Pianist And Composer Fanny Hensel served by picapp.com

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