Arranging

David Wright on Arranging

I’m aware I’ve used this title before, but it is just as appropriate 9 years on, for a similar kind of event: 10 or so of the UK’s most active arrangers gathered in a room together with David Wright to do some learning together. I think maybe four of us were the same as last time, and we revisited some of the same themes. But the majority of both the people in the room and the examples we examined were new, so both event and content had a nice balance of continuity and novelty.

David’s general approach to arranging is, not surprisingly, much as I have heard him present before. There’s the concern with structure, with a clear song-map giving the global context in which the detail is developed. There’s the care over symmetry and development in the detail, and a concomitant disapproval of coaches jiggering with details the arranger has placed with care: ‘Getting rid of a swipe is like sawing a leg off a table’.

Fascinating Rhythm and New Music

FRjun18

On a glorious sunny Thursday evening, you could have had a really fun evening in Bristol watching the England and New Zealand women’s cricket teams play a 20-20 match. Or, you could have gone just a little north of the city as I did and had a fabulous evening making music with a different set of skilled and dedicated women.

Fascinating Rhythm are preparing to bring a package of two newly-commissioned arrangements to the LABBS Convention in the autumn for the fourth consecutive year. Yes, you read that right: we were working on the 7th and 8th new arrangements that they will be bringing to the contest stage since 2015. Up-for-itness doesn’t even being to describe their attitude.

BABS Convention 2018

Momentum Chorus: photo credit - BABSMomentum Chorus: photo credit - BABS

The three major talking points for the final weekend in May this year were the Ireland’s repeal of the 8th amendment, Momentum’s astonishing performance in the mixed barbershop chorus contest, and the glitzy yet ill-designed refurbishment of the toilets in Harrogate International Centre. Of the three, only the second is strictly relevant for this blog, and the other two I’m sure are covered more thoroughly elsewhere anyway.

If you’ve seen the contest scores, you’ll already know that Momentum’s performance was better than anything we saw in the World Mixed Voice competition in Munich the previous month, though in my view the scores don’t show quite how much better. I’d like to hear them in a head-to-head with Heavy Medal, as I think they could give them a run for their money.

On Patience and Living with Imperfection

As an arranger, for most of the time you spend with a piece it doesn’t sound any good. When asked how I’m getting on with a chart, I have two regular responses: at an early stage, ‘Just at the wtf do I do with this then? stage – so, making good progress,’ and, later on, ‘It sounds terrible – so, going to plan.’

The first of these stages is where you make the big strategic decisions about how the music is going to go. And often it’s in solving the intractable technical or artistic problems a particular project presents that you make your most unexpected creative decisions. So whilst this bit can be daunting, it doesn’t yet sound bad because you’ve not put enough music together to sound really poor yet.

On Doubling 3rds

doubled3rdIf you were brought up in a classical harmonic world, you will have been taught that, whilst you may double a minor third, you should never double a major 3rd. Then you go out into the world of real music and meet doubled major 3rds in repertoire by composers you were led to believe knew what they were doing. The story kind of changes then: well, yes you can double major 3rds if you really have to, but we don’t really want you to.

It feels confusingly like doubling 3rds is one of those adult activities surrounded by double standards, like drinking or sex. Grown ups can do it, but the circumstances in which it’s okay are shrouded in mystery, and children are encouraged not even to think about it. It’s no wonder we all go off the rails in our teens, as we try to figure out how we can do these strange adult things in the absence of a clear understanding of the rules.

Exploring New Music with Signature

There is a reason I chose this warm-up pic...There is a reason I chose this warm-up pic...

A week after the extravaganza of new music that was the LABBS/European Barbershop Convention, I was off to start work on one of next year’s offerings. Signature Singers recently commissioned an arrangement from me to bring to contest in 2018, and Saturday was the first of several planned sessions to start work on it together.

Signature have been operating without a director since the start of 2017, and whilst they are still on the lookout for an appropriate person to take on that role (hint: if that’s you, get in touch with them), they have decided not to let the absence of a director stop them from making music now, and from making plans for music in the future. So, Plan A is to take this music to Convention next year with a director appointed in the interim; Plan B is to take this music to Convention without a director.

The Biggest Barbershop Bash in Europe

Last year's LABBS champions closing the monumental two-day chorus contestLast year's LABBS champions closing the monumental two-day chorus contest

Well, where to start on reflecting on the four days of Europe’s best barbershop that just took place in Bournemouth? I was very touched when several people during the event said they were looking forward to this write-up, but now of course I am all anxious about disappointing them! (Just trust the process, Liz – follow the thoughts where they lead you and some people will also be interested – the ones who aren’t will find their needs met elsewhere. Pep talk over.)

I have been looking forward to this event for months. LABBS Convention is my regular autumn party, the British women’s association being the organisation I joined when I first encountered barbershop, in which I was a contest judge for many years, and for whom I now serve as Chorus Director Development Specialist. I have a lot of friends there, and work with a good many groups to develop the performances they bring to the event.

Thoughts on Phnerting

swipeYou know when you wake up before your alarm, and it’s not really worth going back to sleep again but neither can you be bothered to get up just yet? That’s when thoughts turn to the curious expressive power of the phnert.

Regular readers may remember that phnert is the term coined by Lori Lyford to mean the sonority of a major 2nd and the particular effect it has on harmonic direction. It is useful to know as a singer, as it tells you how to relate to the other note in the phnert: you need to lean into it, and collaborate to make sure it’s balanced. It’s like squirting a lemon pip out between thumb and forefinger: both digits need to be equally and actively involved if you are to get any real propulsion.

My morning musings covered the following miscellaneous areas:

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