Spring Awakening - All That's Known

I went ahead and transcribed the Latin recitation rhythms from "All That's Known".  Feel free to use it, if you like - here is a link to the PDF.

Pianists and Band-aids

Considering the amount of times I've brandished a knife in the kitchen, I've had amazingly few digital injuries.  Yesterday I got nicked in an unexpected way: opening a peanut butter jar.  As I pried the top off, I managed to slice open my finger on the protective plastic covering. 

Ouch.

Fortunately, because I'm in a job where paper-cuts are an occupational hazard, I have boxes of bandaids (all sizes).  I got to play the piano later that morning with a firmly placed bandage on my third finger. This didn't throw me over-much, fortunately, as there are many occasions in which I've needed to play with bandaging:  

• Shows using excessive glissandos.  Depending on the heaviness of the keyboard, I occasionally end up bleeding (and eventually developing a 'glissando callous')  
• Pieces with octaves EVERYWHERE.  My pinkies need reinforcement.
• Excessive practicing in general - the bit where the nail meets the finger can get quite tender

I've also heard that cold, cold weather can lead to split fingertips (some pianists use nu-skin for this problem).  I'm lucky to have avoided THAT problem, so far.  But I'm curious about other people's 'war stories'.  One doctoral student I know had a serious kitchen accident right before a recital: his response?   "I'll just have to re-finger everything."  Tell your story in the comments section.

Important information for all: remember when in the kitchen - Always curl your fingers inwards when cutting!

 

If resumes reflected what we actually do:

Jane Doe

Piano Slave

Perform regularly in every musical style known to mankind 

Translator and interpreter:  I speak Singer (specialization in Soprano and Bari-tenor dialects), partially fluent in Dancer

Excellent at dumbing down: music theory, history, opera plots 


Additional skills:  Drive stick shift

Piano: Extreme Makeover

I can't make this up.  Check it out, they turned this piano:

Into this dining room table:

Spring Awakening band info

All the minutia you could ever want about the Spring Awakening band.

Instrumentation:
Bass - Acoustic and Electric
Guitar - Acoustic, Electric Nylon Acoustic, Steel String Acoustic and 12 String Acoustic
Violin*
Viola
Cello
Drums
Keyboard** 

Harmonium

*Calls for a Violin/Guitar II double 
**Keyboard part is occasionally called to be played by actors

ACT ONE
0. Opening phrases (played by entire band heard on soundtrack) before 'Mama Who Bore Me' are not written out

1. Mama Who Bore Me
Violin – m.7-end
Viola – m. 11–end
Cello - m. 11–end
Bass (Acoustic) – m. 20-end
Guitar (Nylon Acoustic) - m. 1–end
Harmonium - m.20-end

2. Mama Who Bore Me (Reprise)
Violin – m.10-end
Viola – m. 10 – end
Cello - m. 1–end
Bass (Acoustic) – m. 2-end

3. All That’s Known 
Violin – m.11-end
Viola – m. 11 – end
Cello - m. 1–end
Bass (Acoustic) – m. 1-end
Guitar (Steel String Acoustic) - m. 1–end
Keyboard - m. 1-end

4. The Bitch of Living
Violin tacet
Viola tacet
Guitar 2 (acoustic) – m. 19-end
Cello - m. 11–end
Bass (Electric) – m. 1-end
Guitar (Electric w/Distortion) - m. 1–end
Keyboard - m. 44-57, tacet al fine

5. My Junk
Violin tacet
Viola tacet
Guitar 2 (electric w/delay) – m. 3-29, 57-end
Cello - m. 19–29, 53-end
Bass (Electric) – m. 11-29, 53-end
Guitar (Electric) - m. 1–end
Keyboard - m. 30-47, tacet al fine

6. Touch Me
Violin – m.21-end
Viola – m. 21 – end
Cello - m. 21–end
Bass (Acoustic) – m. 12-end
Guitar (12 String Acoustic) - m. 1–end
Keyboard - m. 21-30. At m. 65, 'Ilse' is written to play until the end
Harmonium - m 46-88 

7. The Word of Your Body
-Computer track (or Keyboard) plays harpsichord 16th notes-
Violin – m.11-end
Viola – m. 11 – end
Cello - m. 11–end
Bass (Acoustic) – m. 19-end
Guitar (Electric) - m. 7–end
Harmonium - m 11-26, 35-end

8. The Dark I Know Well
Violin tacet
Viola tacet
Guitar 2 (electric w/light distortion) – m. 23-39, 56-end
Cello - m. 1-6, 15-87
Bass (Electric) – m. 23-end
Guitar (Electric) - m. 1–end
Keyboard - m. 23-38, 56-end.  'Georg' is written to play  

8a. The Word of Your Body (Reprise)
Violin tacet
Viola tacet
Cello - m. 2–end
Bass tacet
Guitar tacet
Keyboard - m. 1-end.  'Georg' is written to play

9. And Then There Were None
Violin tacet
Viola tacet
Guitar 2 (electric w/light distortion) – m. 35-43, 59-66, 99-end
Cello - m. 15–106
Bass (Electric) – m. 15-end
Guitar (12 String Acoustic) - m. 1–end
Keyboard - m. 35-42, 53-68, 76-end

10. The Mirror Blue Night
-Computer track (or Keyboard) plays synth 8th notes- 
Violin – m.1-4, 13-end
Viola – m. 13 – end
Cello – m.2-4, 13-44
Bass (Acoustic) – m. 21-end . . . double check on this one - heard that something was missing on this song, but can't check on it until Oct.
Guitar (Electric) - m. 13-44
Keyboard - m. 21-end, 'Ilse' is written to play
Harmonium - m 21-44

11. I Believe
Violin – m.28-end
Viola – m. 28 – end
Cello – m. 13 – end
Bass (Acoustic) – m. 13-end
Guitar (12 String Acoustic) - m. 1–end
Harmonium - m 28-end 

ACT TWO
12. The Guilty Ones
-Computer track (or Keyboard) plays synth 8th notes-
Violin – m.79-end
Viola – m. 79 – end
Cello – m. 64 – end
Bass (Acoustic) – m. 50-end
Guitar (Electric) - m. 26-33, 50-91

13. Don’t Do Sadness
Violin – m.11-54, tacet al fine
Viola – m. 11 – 54, tacet al fine
Cello – m. 1 – 54, tacet al fine
Bass (Electric w/pick) – m.19 – 54, tacet al fine
Guitar (Acoustic Steel String) – m.35 – 54, tacet al fine
Keyboard - m. 35-end

13A. Blue Wind
Violin – m.29 - 41, tacet al fine
Viola – m. 16 – 41, tacet al fine
Cello – m. 29 – 41, tacet al fine
Bass (Electric) – m. 3 – 41, tacet al fine
Guitar (Acoustic Steel String) – m.1 – 40, tacet al fine
Keyboard - m. 3-end

13B. Don’t Do Sadness/ Blue Wind
Violin – m. 11 – 38, tacet al fine
Viola – m. 11 – 38, tacet al fine
Cello – m. 1-38, tacet al fine
Bass (Electric) – m. 11 – 38, tacet al fine
Guitar (Acoustic Steel String) – m. 3 – 38, tacet al fine
Keyboard - m. 19-end

14. Left Behind
Violin – m. 1-4, 18-end
Viola – m. 1-4, 18-end
Cello – m. 1-4, 18-end
Bass (Acoustic) – m. 4, 18-end
Guitar (Acoustic) – m. 1 – end
Harmonium - Interspersed throughout song

15. Totally Fucked
Violin tacet
Viola tacet
Guitar 2 (electric w/ distortion) – m. 39-49, 71-78, 84-end
Cello – m. 7-22, 31-46, 55-78,84-end
Bass (Electric w/pick) – m. 7-end
Guitar (Electric) - m. 1-end

16. The Word of Your Body (Reprise)
-Computer track (or Keyboard) plays harpsichord 16th notes-
Violin – m. 22 – end
Viola – m. 22 – end
Cello – m. 9 – end
Bass (Acoustic) – m. 17-end
Guitar (Electric) - m. 5-end

16A. Melchior Letter Underscore
Violin tacet
Viola tacet
Cello tacet
Bass tacet
Guitar tacet
Keyboard - m. 1-end

17. Whispering
-Computer track (or Keyboard) plays synth 8th notes-
Violin: m.13-20, 33-43, 53-63, 76-86
Viola: m.17-20, 33-43, 53-63, 76-end
Cello: m.17-20, 33-43, 48-63, 76-86, tacet al fine
Bass (Acoustic) – m. 33-41, 49-63,76-83, tacet al fine
Guitar (12 String Acoustic) - m. 1–33-43, 56-63, 76-86, tacet al fine 
Keyboard - m. 33-43, m76-end

17A. Wendla’s Letter Underscore
Violin tacet
Viola tacet
Cello - m. 1–end
Bass tacet
Guitar tacet
Keyboard - m. 1-end

17B. Abortionist Underscore
Violin tacet
Viola tacet
Cello - m. 5–end
Bass (Acoustic) – m. 5-12
Guitar tacet
Keyboard - m. 1-end

18. Melchior’s Escape
Violin – m. 5 – end
Viola: m.3-10, 17-end
Cello - m. 5–end
Cello - m. 1–end
Bass tacet
Guitar tacet
Keyboard tacet

18A. Almost Midnight
Violin – m. 2 – end
Viola – m. 3 – end
Cello - m. 7–end
Bass (Acoustic) – m. 3-end
Guitar tacet
Keyboard - m. 1-end

19. Those You’ve Known
Violin: m.3-5, 13-38, 46-56, 65-80, m 87/end
Viola: m.2-6, 13-38, 46-56, 61-80, m 87/end
Cello - m. 1–end
Bass (Acoustic): m. 21-38, 47-80, m 87/end
Guitar (Nylon Acoustic) - m. 11–56, tacet al fine
Keyboard - m. 1-38, 47-end

20. The Song of Purple Summer
Violin – m. 1-9, 17-end
Viola – m. 1-9, 17--end
Cello – m. 1-9, 17--end
Bass (Acoustic) - m. 1-9, 17--end
Guitar (Acoustic Steel String) – m.1-end
Keyboard - m. 9-42, tacet al fine

Just for the Record . . .

This article is not referring to me.  Apparently I share a name with a female martial artist who lost a match to this lovely young lady:

I do music.  And the closest I've come to martial arts is kickboxing aerobics (no hair-dye required to attend). Glad we cleared that up. 

Off the subject

So this has absolutely nothing to do with music . . . but it did crack me up.  Her name is Hannah Hart and she's hysterical. Enjoy!

Painted Violins

Here's something I've never considered as an alternative fundraiser idea: auctioning off painted violins.  Apparently its been done quite a bit by orchestras and schools, with some fascinating results.  Probably the best of the lot can be found at the Chicago Symphony Orchestra's website, which is where I found these: 

Winifred Godfrey, "Fleur de Lis"

Paul Sierra, "Concerto for Nature"

John Himmelfarb, "Double Cadenza"

Alexandru Darida, "Rhapsody"

Some other links, if you're curious:

The Denver Young Artists Orchestra have been doing it for years, 2005, 2006, 2007, 2009 and this one  

2011, Youth Orchestras of Fresno

2011, Jacksonville Symphony Guild

2010, Chicago Symphony Orchestra

2008, University of Virginia  

2007, Berkshire Music School

2004, The Art of Music

Individual Artists

Bryan Holland

Pic of the Day

I found this on Zazzle: 

Evolution of Man

Repost from Musicianwages.com

Necessary reading for people interested in army gigs:


Top Ten People Who Should Definitely NOT Join the Army Band

This is the season of chilled beer and barbecued hot dogs, where grown men lounge in kiddie pools while small children launch bottle rockets at each other. Freedom and apple pie scent the air, while the Stars and Stripes fly proudly over many a green lawn. Hearts burst with pride over all things American, and people flock down to the local recruiter’s office hoping to meet Uncle Sam himself. In this spirit of patriotism, brotherhood, buffalo wings and “The Wal-Mart” I bring to you:

“Josh’s Super Deluxe All-American Top Ten List of People Who Should Definitely NOT Join the Army Band”

When I volunteered to write for MusicianWages.com I had one goal. To help interested folks make an informed decision before enlisting. Part of that goal involves steering away people who would not fit, and would make themselves (and everyone around them) miserable, by joining. This list is dedicated to you.

Etc Etc Etc . . . 

Music Directing Online Book

Hey, someone's written a book on music directing!  Here's a great online resource for music directors from a man of many talents, Armando Fox:

"So They Talked You Into Being Music Director ( A Cheat Sheet, Survival Guide, and Tales From the Pit)"

Contents
0.1 About the Author

1 Who This Book Is For
1.1 Map of This Book

I Pre-Production
2 Planning And Logistics
2.1 What’s In The Box
2.2 The Conductor’s Score
2.3 Instrumentation: Types of Ensembles
2.4 Instrumentation on a Shoestring
2.5 Electronic Instruments
2.6 Scheduling and Timeline
3 Auditions
3.1 Provide Instructions to Auditioners
3.2 First Round Auditions: Range, Tone, Pitch Retention, Rhythm
3.3 Making Callback Choices
3.4 Tips to Auditioners for a Successful Audition

II Working With Actors and Singers
4 Teaching the Music
4.1 Scheduling and Running Vocal Rehearsals
4.2 Practice Tracks For At-Home Preparation
4.3 Pitch and Interval Training
4.4 Passing/Neighbor Tones vs. the Long Line
4.5 Variable-Stress Practice
4.6 No Obvious Starting Pitch
4.7 Teaching Harmonies and Counterpoint
4.8 Tricky Rhythms
4.9 Tips for Running Successful Vocal Rehearsals
4.10 Summary and Checklist
5 Diction
5.1 Diction Basics
5.2 Vowels and Consonants
5.3 Diction and Rhythm
5.4 Tempo
5.5 Dynamics
5.6 Polishing Away Easily-Avoided Pitfalls
5.7 Microphones: A Blessing and a Curse
5.8 Summary and Checklists
6 Performing the Material
6.1 Putting the Show in Context
6.2 Getting Inside A Song
6.3 Example: So What (Cabaret)
6.4 Example: Dulcinea (Man Of La Mancha)

III Working With the Orchestra
7 A Tour of the Orchestra Materials
7.1 The Conductor or Piano/Conductor Score
7.1.1 Common Musical Notations
7.1.2 Script Cues
7.1.3 Common Structural Notations
7.1.4 Underscoring
7.1.5 Segues
7.2 The Instrument Books
7.2.1 Doubling
7.2.2 Cross-Cuing
8 Working With the Orchestra
8.1 Orchestra Recruiting
8.2 The Mighty Piano
8.3 Strings
8.4 Preparing for Orchestra Rehearsal
8.4.1 Orchestra Rehearsal Venues
8.4.2 Preparing the Book
8.4.3 Mark Up the Book
8.4.4 Practice the Cues During Regular Rehearsals
8.5 Running the Play-Through
8.5.1 Budget 30 Extra Minutes
8.5.2 Polishing
8.6 Sitzprobe or Sit-n-Sing
8.7 Tech Week
8.8 Subs
9 Conducting
9.1 Conducting 101 for Pit Conductors
9.1.1 Rules of Thumb
9.1.2 Hands-Free Conducting
9.2 Theater Conducting Situations
9.2.1 Warning and Start
9.2.2 Tempo Changes
9.2.3 Dictated Notes and Colla Voce
9.2.4 Exiting Vamps
9.2.5 Underscoring
9.2.6 Safeties
9.2.7 Starts and Stops
10 On-the-Spot Arranging
10.1 Part Consolidation
10.2 Doing Your Own Reduction
10.2.1 Who Can Be Recruited?
10.3 Score Analysis
10.3.1 Rhythmic Foundation
10.3.2 Melody Lines
10.3.3 Counterpoint Lines
10.3.4 Embellishments
10.3.5 Obbligato Lines
10.3.6 “Signature Sound”
10.4 Reduction Strategies and Examples
10.4.1 Rules of Thumb and General Principles
10.4.2 Duplication and Substitution
10.5 Example Strategies
10.5.1 Sondheim’s Assassins
10.5.2 Man of La Mancha
10.6 Transposition

IV Appendices: Other Useful Stuff
11 Technology
11.1 The Internet
11.2 Scanning
11.3 Online Documents
11.4 Recording Practice Tracks
11.5 Music Notation, Transposition, Arranging
Glossary