002a.ServiceBookAndHymnal

A.K.A. “O Come, O Come, Emmanuel”.

First Tune
VENI, EMMANUEL. 88, 88, 88.
In unison
Plainsong Melody, Mode 1
Arr. by Ernest White, 1899-
Medeival Antiphons
Latin Hymn, 1710
Tr. John Mason Neale, 1818-66

I do REALLY like this hymn, but was a giant pain to transcribe.

First, apparently little details like notes per measure and time signatures weren’t a big deal when this hymn was written, so it is written with no measures, something the software I am using to create the scores (MuseScore is awesome! And FREE!)

To get around this, I decided to create “measures” based around the phrasing of the text. That ends up meaning dividing the piece into 12 and 14 syllables per “measure”.

However, once I divided up the melody phrasing, I discovered, when I tried to line up the chords in the harmony parts as they were in the book, that whomever transcribed it also didn’t place an emphasis on having the same number of beats in the other parts as had written in the melody part. To get things to line up, I ended up filling in notes in the harmony parts.

Even so, this arrangement ends up odd, and I have been tweaking it for a few days now, trying to get it to sound like I think it should, especially after I started playing the parts on the clarinets.

Here’s what I ended up with: 002a.ServiceBookAndHymnal

 

Red Service Book and Hymnal
Red Service Book and Hymnal

It’s a Mystery

William Parker:

Last Question. Do you think that they, whoever “they” are, the writers, the people who document stuff, do you think they’ll ever understand this music the way musicians understand it?

Fred Anderson:

No, because I don’t think nobody understands. (laughs) They can only go by what they hear and what they like and what they don’t like. And I think that is the way they write about it, what they think is good. But I think most musicians that I know, anybody that ever said anything, ever did anything, never was satisfied with what they were doin’. They were searchin’. And I don’t think they really knew what they were doin’. They were still searchin’. And I think it’s been a mystery, just like life. Everybody writes a book and tells you how to do it this way, do that. That’s just their opinion and I don’t think nobody knows. I think life is a mystery. The music is a mystery. I think this whole universe is a mystery. (laughs) We’re talkin’ about somethin’, man, that nobody really understands. But, you’re entitled to your opinion and if you can put it out there and somebody can get something out of it, cool. It’s an individual thing. It’s a mystery. You make these decisions and that’s it. Whatever you leave, you leave it. (laughs) You just have to believe in what you’re doing and stick to it and be consistent and try to do it right and do it the best way as you see it. If somebody can benefit, cool. I’ve benefited from a lot of things that I’ve heard, by applying some of these techniques in my mind. Now that don’t mean that I was right or wrong, but if I did anything, I learned from observance, seeing how things was done. Another thing that taught me a lot of stuff–I didn’t realize that my wife was sick. She could’ve been sick a long, long time before I even met her. But it came upon me to deal with it. So you don’t know man. You just have to deal with the problem. Whatever the problem is, you try to deal with it. Sometimes you can deal with it, sometimes you can’t But that’s it, man. That’s how I see it.


From “Conversations”, a collection of interviews William Parker conducted with various performing artists and composers, published by RogueArt.

When I was young, I really liked music that used the recording studio as an instrument.

However, as I’ve gotten older, I’ve come to question the value of those sorts of albums which are stitched together in the studio. Those Frankenstein creations where the musicians might or might not even be in the same room (or building).

I think my perception radically changed when I saw Anthony Braxton’s Quartet (Braxton, Crispell, Dresser, Hemingway) at Yoshi’s a number of years ago. I had been collecting Braxton recordings and attempting to understand them without much success. Seeing that band, though, and feeling what was going on between the players, I understood that the music often called “Jazz” is most about the interaction of the players in the moment.

Jazz recordings, at best, are like insects captured in amber.

To be captured in amber, the insect has to die.

Similarly, the spontaneity of the moment and the energy exchange between players, things that are the essential features of a jazz performance, have to be stripped away, in the interest of fidelity and trapping a piece for eternity.

I’ve come to feel that most recordings of Jazz are really just souvenirs, simply reminders of artists I respect and gestures of support for their ongoing struggle to represent their craft against all odds.

Buckwheat Cornbread

Buckwheat Cornbread with Bacon & Padron Peppers

Based on this recipe for Buckwheat Cornbread from the Washington Post.

Ingredients:

  • 1 1/2 cups stone-ground yellow cornmeal
  • 1/2 cup stone-ground buckwheat flour
  • 2 teaspoons baking powder
  • 1/2 teaspoon baking soda
  • 1 teaspoon kosher salt
  • 1 Tablespoon sugar
  • 1 small yellow onion, finely chopped (1/2 cup)
  • 1/2 Cup Chopped Padron Peppers
  • 2 large eggs, beaten
  • 1 3/4 cups low-fat buttermilk
  • 2 Tablespoons Butter
  • 1/4 Pound Bacon
  • METHOD:

    Preheat the oven to 450 degrees.

    Stir together the cornmeal, buckwheat flour, baking powder, baking soda, salt, sugar, onion, and peppers in a large mixing bowl until thoroughly combined.

    Combine the eggs and buttermilk in a medium mixing bowl. Melt butter and stir into the milk mixture.

    Cook the bacon in a hot 9″ cast iron skillet until crisp. Reserve crispy bacon and leave hot bacon grease in pan.

    Add bacon to cornmeal mixture. While the pan is heating, add the buttermilk mixture to the cornmeal mixture, stirring just until combined. Pour into the hot bacon grease containing skillet; a crust should form immediately. Cook for a minute on the stove top, then transfer to the oven and bake for 25 to 30 minutes, until a toothpick inserted into the center comes out clean. Allow the corn bread to rest for 10 minutes before serving.

    The Duke Dreams

    Duke Ellington: This Isn't Piano, This Is Dreaming from thisisdreaming.com on Vimeo.

    “Where did you get your ideas from?”
    “The Ideas? Oh, man, I got a million dreams. It’s all I do is dream. All the time.”
    “I thought you played piano.”
    “No, no, no, no, no! This is not playing piano, this is dreaming.”
    …Duke plays…
    “That’s dreaming.”

    Be Always Drunken

    “Be always drunken.
    Nothing else matters:
    that is the only question.
    If you would not feel
    the horrible burden of Time
    weighing on your shoulders
    and crushing you to the earth,
    be drunken continually.

    Drunken with what?
    With wine, with poetry, or with virtue, as you will.
    But be drunken.

    And if sometimes,
    on the stairs of a palace,
    or on the green side of a ditch,
    or in the dreary solitude of your own room,
    you should awaken
    and the drunkenness be half or wholly slipped away from you,
    ask of the wind,
    or of the wave,
    or of the star,
    or of the bird,
    or of the clock,
    of whatever flies,
    or sighs,
    or rocks,
    or sings,
    or speaks,
    ask what hour it is;
    and the wind,
    wave,
    star,
    bird,
    clock will answer you:
    “It is the hour to be drunken!”

    Charles Baudelaire, Paris Spleen, 1864

    If Baudelaire’s “Be Always Drunken” is one of your favorite poems, basically, ever, what do you do when you quit drinking?

    If you’ve spent the last 10 years as something of a cocktail & spirits expert and a bartender, what do you do, if you don’t drink?

    I mean, for more than 5 years, the cocktails of the Savoy Cocktail Book were a fairly single minded obsession for me. Getting (or making) the ingredients, making the drinks, photographing the drinks, writing the SavoyStomp.com Blog, hosting Savoy Nights at Alembic, etc.

    Daniel Hyatt was prescient, saying a long time ago, “If you ever finish this thing, you are going to have some serious post-partum depression.”

    Seriously, even leaving aside the drinking part, that’s a lot of effort & time I was spending over Savoy Cocktails, that is now free.

    Well, the obvious thing, is to find something else to do, other than drink & write about drinking.

    I guess that is the whole plan of AA. You have to go to at least a meeting every day. You meet with your sponsor. You drink lots of coffee. You smoke. You hang out with your new AA buddies. You’ve got badges and buttons to earn. Pretty clearly, you’re replacing the time you spent drinking and hanging out with your drinking buddies and those rewards, with the time spent fulfilling your responsibilities to the AA organization.

    Unfortunately, I don’t believe in a higher power, nor do I have any desire to hang out in church basements drinking coffee.

    So, to set myself up for success, in this whole “not drinking” experiment, I’m going to have to find something to occupy my time.

    Prior to my obsession with cocktails, my enthusiastic hobbies have included, in no particular order, Reading, Botany, Gardening, Computer Games, Music, Playing Music…

    Oh, huh, I still have that clarinet I bought when I was just out of college.

    Well, learning to play the clarinet is certainly something that can take up a lot of time and attention.

    Performing music was really my first addiction and enthusiasm.

    I started performing music in the children’s choir at church and continued to sing and perform in pretty much every possible way through high school: Band, Jazz Band, Choir, Musicals, and yes, even, horror of horrors, Madrigal.

    Stopped performing when I went off to college and started drinking.

    Is it possible that every other addiction, or enthusiasm, in my adult life has just been a substitute for the buzz of performing music?

    Now that is something to think about.

    …and I doubt Mr Baudelaire would disagree that it is possible to be drunken with song…

    Mustard Ruminations

    Over the years I have always used Dijon mustard when making salad dressings, etc.

    I always assumed the fine grind of the mustard seeds would be the thing that helped with emulsion.

    The other day I was out of Dijon and instead used an old school whole grain mustard (Maille Old Style) when making a salad dressing.

    Weirdly, it worked as an even more efficient emulsifier than the usual finely ground Dijon.

    Seems to indicate that it isn’t the fine grind of the mustard, but some other factor which is aiding in emulsion of fats.

    Horn Players

    I was watching last last Jazz Night in America with the Bad Plus and Joshua Redman playing tracks from their new album.

    Bad Plus Plus Joshua Redman

    Watching, I was struck by how funny it is, that in modern small combo jazz, the horn player often sits there and basically does nothing for what amounts to nearly half of the concert.

    The piano, drum, and bass players play the whole night, but the horn player plays during the head and his solos and then just sits out the rest of the concert.

    Related, listening to early jazz, Armstrong, Oliver, Bechet, I’ve been paying attention to how the clarinet interacts with the ensemble. It seems like the clarinet is most closely allied with the banjo. While the brass, piano, and drums play mostly on the beat, the clarinet & banjo play contrapuntally and interstitially.

    While the horns play the main theme or motif, the clarinet will often play against the theme, or after it, or during breaks in the music. Sort of like the clarinet player is commenting on the theme.

    Similarly, in early small combo jazz, the horns don’t sit out, they act as part of the rhythm section when they are not actively soloing.

    It’s funny that that custom seems to have been lost in much of modern jazz.