Repertoire for Intermediate Concert Orchestra, Concert 4, 2015

It has been a great summer for the Intermediate Concert Orchestra at Interlochen in 2015 and we are very excited to finish the summer with a wonderful performance this coming Saturday at 4:00 PM in Kresge Auditorium. As part of that performance we will be performing four works. I would like to give you a little information on each of those works.

First, we will be performing the first movement of Percy Fletcher's Folk Tune and Fiddle Dance, the Folk Tune movement. This work starts out in 6/8 time, D major and works its way through a variety of time signatures and key signatures throughout.   This is an exciting and varied movement that requires students to shift seamlessly between styles, time signatures, and key centers. Fletcher explores compound time, a minuet feel, a pesante section, and finishes back in 6/8 time with the original beautiful melody, eventually modulating to E major.

The kids were asking me to do something a little bit more technically challenging for this concert, so I put a little-known work by Alfred Reed in front of them. It is the first movement of his Suite Concertante for String Orchestra entitled Prelude and Fugue. This work is in ABA form and begins with a fanfare in rhythmic unison, mixed meter. The B section is a contemporary fugue that really challenges each section rhythmically and technically. The fugue builds to a magnificent climax, and then melts back into a recapitulation of the prelude. The movement ends with a huge allargando ending and a exciting musical exclamation point to finish! This may end up being the opener for our program. One quick note to music instructors and conductors out there: there are many misprints in the parts and score. If you would like a list of Errata, please don't hesitate to contact me.  It will sve you a great deal of time and frustration in the end.

Interlochen is in the midst of a Copland Festival in the summer of 2015. With that in mind, I decided to program a number of Aaron Copland works for ICO as well. For this concert, we will be performing The Red Pony, Excerpts from the Film Suite by Aaron Copland, as arranged by Erik Morales. This version of the Red Pony is taken from the film suite which was completed in 1948. It includes four tunes from the film: Morning on the Ranch, Dream March, Walk to the Bunkhouse, and Happy Ending. Each of these sections includes wonderful Copland style and sounds, and provides ample technical challenges for the ensemble. This work lasts about 4 minutes and 35 seconds and takes the students through 6/8 time section, a difficult 5/4 section, some lovely open chorale passages, a march style movement, and ends back in compound time.

Our closer for this program is an original work by Bert Ligon, entitled Road Trip to Rio.  This up beat contemporary pop piece is perfect for closing a concert and the summer.  It is a light work listed as a grade 3. However, I feel it's just a little more difficult than that. There is plenty of syncopation throughout the work that requires strong rhythmic skill and attention. The pop style is not always a "slam-dunk" with young string players, so much attention must be paid to articulation and phrase beginnings and endings. An opportunity for improvised or written-out solos is  found in the middle of the piece. We will be welcoming an Intermediate guest pianist, drummer, and all of the guitarists in the Intermediate Guitar Program here at Interlochen to participate in performing this piece. I know it will be an exciting closer for our program.

So, there it is! It has been a wonderful summer of music-making at Interlochen and I hope that some of these notes on repertoire have been useful for you.  I will try to post links to the recordings as they are available as well.

My attention will soon turn to the fall at NCSSM.  There may be a few more Interlochen posts,  but things get pretty busy for the last few days.  Who knows, I may get inspired to put some  more thoughts in writing before heading back south to NC.

Peace.

Scott

Chasing That Emotional "High"

In the summer of 1981, I attended a week-long church camp that was simply a blast.  It was called “MAD” Camp and focused all week on music, art, and drama.  It was part of the summer program at Westminster Highlands, a Presbyterian Church Camp facility in Western PA,  where I usually spent a couple of weeks each summer.  My time at Westminster Highlands and the relationships that I established there had a profound impact on my development as a young man in many ways.  I had just finished 10^th grade and was beginning to realize that I had a little something to offer in the area of music and peer leadership.  I wasn’t particularly interested in the visual arts, but I was open to working in drama as well as music.  That summer, we created a musical out of the book, The Singer Trilogy, by Calvin Miller.  We wrote original songs and music to accompany the text and I ended up playing the lead role in the production at the end of camp.  I wrote and performed much of the music as part of that experience. 

It was truly a “mountain-top” experience.  I had never invested so much of myself into a project.  I had never been part of such a close-knit community of artists. I had never been part of such an impassioned performance.  I certainly had never garnered that type of attention from my peers and friends for my talents and accomplishments.  It was intoxicating and I wanted more!!

I remember talking with my Dad on the 3 hour ride home and telling him  all that I had learned and accomplished.  I also expressed concern that things at home could never be as exciting as the past week had been.  Things at home were so mundane.  I didn’t relate to the people in the same way.  How could I ever re-create that experience again?  I will never forget my Dad, response.  First he acknowledged what a great thing I had experienced.  But then he told me that we couldn’t sustain that mountaintop experience all the time.  If we were always on the mountaintop, how can we appreciate it when we get there again?  There have to be peaks and valleys.  He encouraged me to use the experience that I had as motivation to get there again.  And, to use the ideas that I had developed to make the ensembles and communities that I lived with on a daily basis better.   He reminded me that the folks that expect the mountaintop all the time are rarely satisfied.  He encouraged me to keep seeking the mountaintop, but to also embrace every day.  Even the ones that aren’t mountaintop experiences. 

What amazing advice!!  It is advice that I have used over and over again in my lifetime.

I feel like I am constantly chasing that mountaintop experience as a musician all the time too.  I love that “emotional high” that I experience after an amazing performance.  Those goosebumps on your arms or the warmth of an amazing ovation in completely intoxicating.  That knowledge that you just moved the emotions of an audience is what we strive for.  I want it as a conductor.  I want it as a violinist.  I want it as a teacher.  I want it as a student. 

I am keenly aware that much of my work as a conductor is done in the festival setting.  I am fortunate to work with kids at Interlochen summer arts camp in the summer.  We are chasing that mountaintop musical experience with every rehearsal, practice session, and performance.  I am fortunate to conduct numerous local, regional, and all state festivals as part of my work and we are doing the same thing in that setting.  We are looking for that amazing musical experience – not just technically, but emotionally as well.  Even my work at NCSSM is similar to this.  Our time together is limited and then the students go back to something else.  In the two years and limited rehearsal that I get them, I want to bring them together for a mountaintop, special, emotional musical experience.  And I think in some ways they expect that from me.

So, what is it that leads us to that end.  What gets us from the mundane to the extraordinary?  What moves us from “physics” to “metaphysics?” (I love that phrase and concept!!)  I will throw out a couple of thoughts here. I am sure there are more and I would love to hear from you with your ideas.

When I look back to what I wrote at the top of this post about my MAD Camp experience it was the following: personal investment, a close knit community, impassioned performance, positive feedback.  Let’s explore each of these briefly. 

I have written before about the power of community.  I firmly believe that strong communities are the foundation of strong ensembles.  I have been in musical ensembles that weren’t strong communities, but, for me, it always better when they are. We have to want to work together. We have to trust each other.  Form me, smiles and friendship works better than fear and intimidation.  Personal investment is a key as well.  When we give freely and passionately of ourselves, we are more likely to get more in return.  Sometimes it hurts to be fully personally invested, but it is usually (always) worth it.  I find this in relationships.  I find this in my daily work.  I find this in musical ensembles.  I also believe that as a leader, I have to set the tone of personal investment if I want my ensemble members to give in the same way.  It doesn’t seem to work in reverse.  Positive feedback is also key.  There is nothing like an “atta-boy” to keep us going when the going gets tough.  And it will get tough at some point.  (See “personal investment.”)  That “atta-boy” for musicians can be the applause.  But, it can also be the feeling you get when the ensemble really hits that passage in rehearsal.  It can be the relationship between a musician and their stand partner.   It can be the conductor’s comments.  It can be the personal knowledge of a job well done after a long rehearsal.  It comes in many forms.  Finally, an impassioned performance can really be the key to the mountaintop experience for the musician.  That only comes with great rehearsals, a well prepared and in-sync ensemble, and active mental and creative investment and preparation from all involved.    This category is really a sub-category of “personal investment,” isn’t it?

Before wrapping up this post, I would like to offer up a few thoughts about the nuts and bolts of the “impassioned performance” idea here.  What does this entail from a technical and musical perspective?  I have been thinking about this and I believe the key is that notion of a well prepared and in-sync ensemble.  Orchestrally, each musician must have a common concept of the priorities, direction, and goals of each note, phrase, section, and piece.  So, as conductors, we have to be heading in that direction in every minute of every rehearsal.  We should be striving for that idea of unification and common notion within and between sections.  This is a bit tough to articulate, but here goes.  We are seeking precision that is driven by the goal of a passionate performance and, ultimately, an emotional response.  My friend Eugene Friesen says that once you have done the rigor, you are free to emote and express.  That makes sense to me.  Rigor leads to freedom, which leads to that “emotional high.”  We should be seeking precision in rhythm and rhythmic concepts, intonation and tonal concepts, phrasing and musical concepts, a common vision of dynamic variation within the piece, tone quality and concepts in color, and finally conceptual precision and common vision.

On another note, it is also vital that we remind students in the midst of a mountain top performance that it is their responsibility to take that experience back home to their daily lives. They must bring their newfound enthusiasm and passion back to the daily routine so that it might be infused with new energy for the folks that don't have the same opportunities. We really need to stress the "Pay It Forward" concept to our top students who get awesome opportunities. Take the elements of that mountain top experience back home with you and share it.

So, there are some of my thoughts on seeking that “emotional high.”  As I look back over that post, I just finished a great rehearsal on the work Aspire: A Dream Fulfilled, by Bob Phillips.  It occurs to me that I am definitely seeking that “high” with this work.  We are working on all of those concepts outlined in the previous couple of paragraphs.  I want that mountaintop experience for myself and my students on this one.  It is in reach.   I will let you know how it goes.

Peace.

Scott

               

The RUSHING Epidemic

Is it me or does every darned group of young string musicians rush tempo like crazy?  I know this: it is driving me crazy.  I have definitely noticed in recent years that young string musicians at virtually every level rush tempo and particularly cut off the ends of phrases.  In recent weeks, I have been trying to ascertain the reasons for this epidemic in rushing and to devise methods for correcting the problem as well and tools for ensembles to get back on track when it happens.

Let me be clear here.  This happens in young groups and older groups.  It happens with kids that are not very experienced and with very experienced kids.  So, in this post, I will try to identify the problem and offer some solutions.  

I have had several conversations with colleagues regarding this lately and I am thinking that I am particularly tuned into this because I so often play in a rock or pop setting with the steady undulation of a drum set as part of the ensemble.  I often tell my orchestras that I sort of always hear a drum set accompanying the orchestra when I conduct.  I think that many conductors do this - we hear the "inner rhythm of the piece at all times in the front of our mind.  In other words, if the most common subdivision of the work is 16th notes, that subdivision of the time is always going through or head.  It should be going through the instrumentalists mind as well.  Playing with so many rock and jazz ensembles over the years has made this a natural thing for me.  It is almost like playing with a metronome in many ways.  In fact, just last week, ICO performed Take the A Train in a concert with  a drummer and the rushing really was non-existent.  But, the piece before and after it DID have a tendency to rush.  The inner rhythm wasn't being beat into their ears and then the rushing came back.  To me, this concept is critical to the concept of functional musicianship.  And, it an element of musicianship that is lacking in, I am guessing based on my experience, the majority of high school and younger musicians of all ability and experience levels.

I often stop an ensemble that I am working with and say, "Are you going to conduct me, or am I going to conduct you?"  I can't tell you the number of times I have watched ensembles perform where the conductor essentially gives up and follows the kids.  I often notice young and old teacher/conductors clipping off the 4th beat of a measure in 4/4 time by as much as a 16th note value or even more!  

Those of you that know me, know that I try to have a system for correcting pedagogical problems.  The system  must have the following criteria.  It  should be sequential, have a system of appropriate nomenclature, and must include harmonic underpinning or other related functional viability.  so, later in this post, I will offer a system for correcting the rushing epidemic.

The Problem

OK, so exactly what is the problem?  Well, it is a combination of factors.  

1. Musicians need to listen to and look for the inner rhythm.

My dear friend, Jung Ho Pak has taught me that musicians need to know who is the teacher and who is the student.  And, no, the conductor is not always the teacher.  In an ensemble setting, some voice is always the rhythmic teachers.  That is the voice that is playing the inner rhythm or smallest subdivision of the pulse. The "students" or other musicians must key in on that subdivision with their listening and visual skills. (The beauty of string playing is that we can usually see the pulse or subdivision as well.)  If the violins are the "teacher" then the other sections need to play the role of student and hear/see the subdivision.  As soon as they clip off the end of a longer note value, all rhythmic heck breaks loose!!  Encourage your students to know who has the inner rhythm at all times.  If no section has the inner rhythm, then everyone needs to audiate it (in other words, think it) and that is the time that the conductor is the "teacher."  The important information will come from the stick.  Conductor/teachers: it is precisely at that moment that the pressure is on you to not clip off the end of the measure because you are afraid someone will beat you to pulse.  That is what rehearsal is for!  I always say that trust is a 2 way street.  Instrumentalists have to trust the conductor, but the conductor also has to trust the instrumentalist.  As soon as they realize that they are conducting, you have lost the battle!!

2. If the inner rhythm isn't audible, musicians must audiate the inner rhythm.

Everyone needs to do this; the conductor, the violins, the violas, the celli, and basses.  Every member of the ensemble must audiate inner rhythm.  I believe that in rehearsal, it is the conductor's job to teach the musicians how and when to do this.  Remember, if it is audible, everyone needs to listen for it and permit the  voice with that rhythm to play every note in its entirety.  No exceptions.  If it isn't audible, everyone needs to be thinking it.

3. Ensemble musicians must look for the downbeat and know exactly what/where the downbeat is.

In addition to thinking or audiating the inner rhythm, the orchestra members have to know when and where to look.  How often have you noticed folks arriving at the downbeat at the top of your downward motion as a conductor, rather than at the ictus?  It happens all the time.  So, we, as teachers, need to clearly explain and reinforce this concept at every step in the process.  Don't give up.  the downbeat is not at the top of the downward motion, it is at the bottom.  The VERY bottom.  The also brings up another related point:  be sure that you are giving clear visual information.   If your downbeat is unclear, it isn't fair to ask them to be able to interpret it.  And, if you are conducting subdivisions or backbeats, no one will ever know your intentions.  

4. Students need to practice with a metronome more often and in a variety of ways.

Metronomes don't lie.  Use them for fast practice.  Use them for slow practice.  Have the click on all pulses.  Have the click on 1 and 3.  Have the click on 2 and 4. Have it click an eighth note inner rhythm.  Have it click a 16th note inner rhythm. Have it click on only the first beat of the measure. Have the click on only the fourth beat of the measure. Have the click on only the second beat of the measure.  Encourage students  to challenge themselves with the metronome.  It is a magnificent tool for establishing consistent rhythm.

5. Ensemble musicians need tools for combating this in a performance setting.  

Give your orchestra tips for correcting the problem when it starts.  Not if it starts, because it will happen at some point.  I always tell my ensembles that when a problem occurs, that is the time to lift up your eyes to the "teacher."  Not always the conductor! Also, moments of static activity are always the time to look up: repeated eighth notes, whole notes, repeated ostinato passages, etc.  Students need to lift up their eyes much more than they are inclined.  Give them spots and ideas for this. and, you must look at them as well.  Remember, if you aren't giving them important information, they will stop looking.  Trust is a two way street.

6. Conductors must be dogmatic about all of this.  They can't give up!!

I think you know what I mean.  Think about it: if we give up on anything, it will end up being wrong.  How often do we need to remind students about left hand position?  (It never stops.)  How often do we need to remind students about proper bow hold? (It never stops.)  It is the same with inner rhythm.  It is a daily process.  They key is giving good tools for combating the problem.  Simply telling students "don't rush," and "watch the conductor" is not enough.

The Solution: A System

So, as I stated earlier, I believe in crating a system for combating the problem.  For me, this always involves getting the students' faces out of the music.  Approach the problem by eliminating various factors that lead to the problem.  So, I would start with scales.  Create an exercise or etude where one section or even one student has the inner rhythm that the others must listen to in order to play the scale in time.  Bounce that role around the orchestra. The voice with the inner rhythm is the "teacher."  Then give the "teacher role" to the conductor.  Create rhythmic patterns that involve a sustained note at the end. (Perhaps 4 eight notes and a half note on each step of the scale.)   Don't let anyone clip off that last bit of the half note as they ascend and descent the scale.  

I am also a strong advocate of "bumping" the pulse lightly in the left hand for violin and violists and in the head for cello and bassists.  Simply showing that pulse, much like in chamber music is a great orchestral technique at certain points in the repertoire.  it is a skill that can be developed outside of the music-reading.  Do this will scales on whole notes.  Have the 2nd violins conduct with the bump while the others watch them.  This goes a long way toward getting their faces out of the music. 

Then, take these concepts into the repertoire.  Ask students to identify who is the teacher and who is the student at any given time.  They won't know at first.   they are too busy trying to figure out their own part.  But, eventually, they will begin to think this way.  It is so invigorating when an ensemble begins to internalize this concept.  It is also amazing when they have tools for correcting the problem in performance and they actually do it.  I have had this happen a couple of times this summer in performances already and was elated at the student response.

In the end, all of this comes down to aural and visual awareness in the ensemble.  It is much more than right notes and rhythms.  It is about  communication.  Build a system in your ensemble for strong visual and aural communication.  Don't avoid it.  Provide tools for your students to succeed in the difficult task of rhythmic stability in all facets of performance.

I hope that this provides you some food for thought with your ensemble or performing situation and I certainly welcome your ideas and reactions.  I would love to hear from you.  All my best and may you experience steady rhythm!!

Peace.

Scott

ICO Concert No 3 Repertoire

I met my new ensemble yesterday for the first time and can't wait to get started working on the repertoire that I have selected for the 3rd Intermediate Concert Orchestra performance of the Summer 2015 season at Interlochen.  It is a great group of kids and there are many returning musicians from previous summers.  Also, my son, Cael is a member of the bass section, so that is a new experience for both of us and I know that will make the second three week session even more memorable.  

We sight read most of the music in the folders yesterday and I was really pleased with the level of the ensemble. Today we will be really digging into the repertoire.  Here are some notes on the works we will be preparing for the first concert on Wednesday, July 29, 2015.

Keystone, Silva

This is a new work, published by Kjos in 2014, that I discovered at a new music reading session that JS Pepper sponsored for the NC Chapter of ASTA last November.   Alan silva has a really impressive resume that includes feature films, television shows, Disney, and even the rock band, KISS.   This piece is in A minor and has a really cool 3-3-2 rhythmic structure. It features driving rhythms and beautiful elongated soaring melodies.  This is an interesting and exciting work and will be perfect for this orchestra.  the minute I heard it in November, I knew it would be on my repertoire list for this summer.

Aspire, Phillips

Sub-titled "A Dream Fulfilled," this  work was  commissioned by the Elizabeth Ruthruff Wilson Foundation and dedicated to Theresa Powers, the students of the Tecumseh School Orchestras, and their directors Amy Marr and Michael Bough.  It is published by Highland Etling and Alfred Music. I discovered this piece while working with the Providence HS (Charlotte NC) Orchestras and their director, Sara Russell last fall.  This is a lush and beautiful piece that features a constantly shifting time signature with a common quarter value pulse. The piece starts in D major and shifts to E major at the end.  This piece offers numerous opportunities for each section of the string orchestra to shine and features 3rd and 4th positions for the violas and celli.  Basses get a lovely counter melody in the middle and violins soar into upper positions throughout.  This piece is listed as a grade 3, but there are ample opportunities for musicians of all levels to stretch their expressive muscles.

Concert Piece No 2, Mendelssohn, Opus 114

This work is scored for clarinet, bassoon, and string orchestra accompaniment and will feature my Interlochen colleagues Doug Spaniol (bassoon) and Sandy Jackson (clarinet) with ICO.  I  heard them perform this with piano accompaniment last summer and we began discussing the possibility of doing it with string orchestra this summer.  I am particularly excited to do this,  because Sandy's daughter, Sophia, is a cellist in the orchestra this summer.  (Incidentally, with my son, Sandy's daughter, and Maria Silver, daughter of Interlochen Clarinet Faculty Member, Dan Silver in the orchestra, we really have a neat community of Interlochen folks in the ensemble!!)  We will more than likely, only perform Mvt 3, a light Allegretto Grazioso in F major.

Folk Tune and Fiddle Dance, Fletcher

Finally, one of my favorites is Percy Fletcher's well-known string orchestra work, Folk tune and Fiddle Dance. The Folk Tune begins in E minor 6/8 time with a lovely tune that longs for the sea. The movement shifts between time signatures, key signatures, and feels, only to return to the opening tune in a wistful manner at the end.  The Fiddle Dance in G major is a good old fashioned hoe down that drives throughout.  In ABA form, this movement that features the violas and celli prominently is perfect concert-ender.  I first discovered this piece in the mid 1980's shortly after graduating from college and have used it consistently ever since that time.  

So, that is what we are looking at.   Perhaps one of these will be appropriate for your next program. 

All my best!

Peace.

Scott

ICO Concert #2 Repertoire

Hi all!
This will be a quick post on the concert repertoire for the Interlochen Intermediate Concert Orchestra performance on July 17, 6:30 PM.  This concert will be livestreamed at http://live.interlochen.org/corson-camera
So, I hope that you can check it out if you have a chance!

We will be doing 4 works  on this concert.

We will open with Aaron Copland's string arrangement of his wonderful Hoedown from Rodeo.  I gave this out  to the kids as a challenge early in our three-week time together and they stepped up to learn the work in grand fashion.  Interlochen is in the middle of a summer-long Copland Festival and it is fitting that we do this work in honor of the Festival.  There are so many challenges in this work: rhythm, high passages, intricate intrplay between sections, solos, rhythm, rhythm, rhythm.  I am really proud of the accomplishments of these young musicians on this piece.

Next, we will perform Robert McCashin's adaptation of Allegro Moderato from No. Symphony 29 in A Major, by Mozart, published by FJH Music.  This is a wonderful grade 4 adaptation that provides the perfect opportunity to teach Viennese-style techniques, including spicatto bowing,  detailed interplay between sections, wonderful crescendi, and beautiful lyrical playing.  It will be a nice contrast following the Hoedown.

Next, we will feature my colleague, jazz saxophonist David Kay, on Bert Ligon's arrangement of Billy Strahorn's Take the "A" Train. This arrangement is great for teaching swing style to young string students.  We have added student piano and drum set players as well.  Every section must count independently and really understand the rhythms and style to pull it off.  David will be tearing it up on this one.  I am really pleased to share the stage with him again this summer.

Finally, ICO will finish up with Legend of the Phantom Pirates, by Brian Balmages.  This is a wonderful original (grade 3.5) composition that toggles between a slow, mysterioso section and a driving allegro pirate theme.  The kids love it and it will be a perfect finale for the ICO portion of the show.  I recommend this one highly.

I can't wait to perform this concert!  The students have prepared well and it is time to wrap up this three-week session at Interlochen.  Congratulations to all of the fine young musicians that have participated.

Peace.

Scott

The Doobie Brothers!

I just walked up to the commons area of Interlochen in time to hear the concert begin:  Do Do Do - Do-Do - Dooooo, Do Do Do - Do-Do - Dooooo, Jesus is just alright with me, Jesus is just alright with me....  The crowd is pouring into Kesge Hall and everyone seems amped to see a great show.  Rockin Down the Highway just started.  Awesome!

So, here I am hangin out, listening to the Doobie Brothers tear it up.  They are fantastic!

I have two overarching memories of the Doobie Brothers from my childhood that I will share real quickly.  One involves "China Grove" and the other, "What a Food Believes."

The year was 1978.  I was in 7th grade at Indian (PA) Junior High.  I loved being in junior high and was working hard to  figure out  the social situation in a junior high.  I was a good musician, a good student, and a mediocre athlete.  I didn't dress in the latest fashions, but had a knack for getting by with a few well placed labels and fashion items: a clear plastic belt, one pair of Levis, a pair of Nikes, and occasionally a jean jacket  (not Levis).  I only remember a couple of teachers and classes with any clarity.  English was my favorite.  Mr. Petro, my English teacher was really cool.  He gave interesting assignments and seemed to like me.  He inspired my creativity in all the right ways.  Mr. Shadel was the band director.   He was all band director.  And, while I was a violinist, I played percussion in the band and really enjoyed it.  I learned a great deal about adolescence in band.  Back there in the percussion section, there was much to learn - and not really having anything to do with music most of the time.  Finally, I remember Art class and Ms. Olsen.  She was very cool.  She always played the radio while we worked on assignments.    I was a horrible visual artist, but it was so fun to listen to great tunes on the radio, tell stories, laugh, and generally have a great time.  The tune that I remember hearing all of the time in that class was "What a Fool Believes."  Michael McDonald's amazing voice was intoxicating.  I couldn't get enough of it.  That song must have come on the radio every single day of 1978 during my art class.  I think of that class every time I hear it to this day.

China Grove was released in 1973, but I was first introduced to it in 1979 or so.  I was playing in one of my first bands, and had to learn a lot of  music on bass in a short time.  China Grove was one of the tunes.  Our singer, Ricky, and our guitarist, Joe, really already knew the tune and they wanted the rest of us to get it down quickly.  It was perfect for Ricky's  voice and Joe could tear it  up on guitar.   It quickly became our best tune and we played it at every show.    We even got to play it  as part of a warm up act for the Iron City House Rockers and the Silencers, a couple of regional bands from Pittsburgh that had a little bit  of chart success in those years.  What a blast!!  I think of that show every time I hear China Grove: the lights, the sound of the crowd, the feeling.  It was something I wanted to experience for the rest of my life.  Fortunately, as a musician, I have had that feeling many more times in my life.  I am truly blessed to make music for a living!

There are definitely memories from other Doobies songs, but those two are the biggies.  So, for now, I am going to hang out  and enjoy the show.  They sound great.

Peace.
Scott

First ICO Concert of the Season, July 8, 6:30, Kesge Auditorium

This will be a very short post regarding the repertoire that ICO will be performing on our first concert of the Summer 2015 season.  It has been a great first week of the summer and I am looking forward to getting on stage with these wonderful young musicians.

We will open our program with Bold Venture, by M.L. Daniels (published by Kjos).  It is a grade 4 string orchestra work that is full of syncopated rhythms in E minor.  It was the winner of the 2000 ASTA with NSOA Merle J. Isaac Composition Contest.  It is marked "moderato," but I am taking it significantly faster than the suggest quarter = 98 bpm.  It begins and ends with a quick, masculine feel and has a brief lyrical section in the middle.  I chose this work because one of my favorite pieces to play as a student in the 1970's was another work by Daniels, entitled Festique, which has a similar feel.

Next, we will be featuring two of our section coaches, violinists Brittni Brown and Jacqueline Joves, performing the Double Violin Concerto by JS. Bach.  We will be doing this work in its entirety.  The well-known first movement provides an opportunity for our violin section to understand the other side of this work, serving as accompanists and truly learning the meaning  of performing "terraced dynamic."  The cello and bass section have a great challenge performing the continuo part.  The 2nd movement is in 12/8 time and offers a great opportunity to really teach compound meter.  The Largo tempo also provides ample teaching/learning opportunities and really requires the musician to have a complete understanding of all of the rhythms and associated performance practice.  This movement requires great rhythmic patience and maturity from all of the musicians.  The third movement is an Allegro in 3/4 time.  It moves along very quickly and, again, requires a keen understanding of all rhythms and the concept of tutti vs. ripieno playing.

We will finish our portion of the program with The Faraway Place, by William Hofeldt (published by Kjos).  This piece was suggested to me by a member of our viola section back in the fall.  I checked out the piece and loved it immediately.  It is in E flat major, in 3/4 time, and is a beautiful "unhurried" ballad.  There is tremendous opportunity in this piece for me to teach the importance of watching the conductor.  The piece allows for a great deal of rhythmic stretch and tug.  We discussed the impact that music can have on our emotions and I believe that the students will give a lovely, emotion-filled performance of this beautiful work.

I can't wait for tomorrow. We have about 5 1/2 hours of rehearsal time left before the concert.  There is much to do, but we will be ready!

I will let you know how it goes!

Peace.
Scott