The Piano & Cousins

June 1, 2013 by Leave a Comment

“Music is enough for a lifetime but a lifetime is not enough for music.”

                                                                                                Sergei Rachmaninoff

Today, in many homes, one will find the piano residing in the living room or other location. Whether the instrument is played by a family member or just an elegant piece of furniture the piano is important to many.  Have you ever wondered how the piano came to be?  Obviously it just didn’t appear in its present state of construction one day in the past. It, like almost everything, has an origin and a history of its ancestor’s evolution to its present day form.

Piano

How does it work? The piano, a stringed-percussion instrument, produces sound by hammers striking metal strings that are stretched across a soundboard when the black and while keys on the keyboard are depressed.  The piano was originally known as the ‘Pianoforte’ that literally means “soft-loud.”

Bartolomeo di Francesco Cristofori (1655-1731) is credited with the development of the modern piano we know today, in 1709.  He was a harpsichord maker from Florence Italy. The early piano was first produced because an instrument was desired that had a better dynamic range (degree of loudness) than the harpsichord. The new hammer action could produce gradations of loudness that was lacking in the harpsichord. Finally performers were able to have a better mechanism to provide musical expression and varying degrees of dynamics, contrast and nuance.

Around 1720 the original piano action was improved upon and went virtually untouched for the better part of a century.  Even with modern improvements during the last 300 years the modern version is very similar to Cristofori’s piano of the 18th century.

“From 1790 to the mid-1800’s, piano technology and sound greatly improved due to the inventions of the industrial revolution,” wrote Mary Bellis in The History of the Piano. “Tonal range increased from five octaves to seven and more.”

The modern piano is so versatile it is used as a solo instrument, an ensemble instrument an accompanying instrument for vocalists and other instrumentalist in both classical and other genres. It is currently manufactured in upright and grand piano formats.

To establish a link to the piano’s present-day construction, appearance and function one must go back several hundred years to the late medieval through the renaissance, baroque and classical eras. Many string and keyboard progenitors preceded the piano; prominent among these are the clavichord and harpsichord that led to the invention and construction of the pianoforte.

Clavichord

The clavichord can be defined as a stringed keyboard instrument housed in a rectangular case. In order to produce a tone, the strings are “struck” by a mental wedge called a tangent. The name “clavichord” comes from the Latin word clavis meaning key and chorde which means string. The Harvard Dictionary of Music states the clavichord produces a very soft sound and at first hearing is often thought as disappointing.  Variations in the force with which the keys are struck produce changes in loudness although not to a great extent. The instrument is limited in the range of its sound therefore it is a very sutbtle sounding instrument best heard in small intimate settings as opposed to a large concert hall or outdoors.

One of J.S. Bach’s sons, Karl Philipp Emanuel Bach, was an important composer of the most idiomatic music for the clavichord. Today there are numerous clavichord societies around the world keeping the instrument and its music alive.

Harpsichord

A rudimentary definition of a harpsichord is: a keyboard instrument similar to the piano. The strings are ‘plucked’ by a quill rather than struck by a hammer like the piano.  “The harpsichord is descended from an instrument called the Psaltery; a hand-held stringed instrument played with a plectrum: a piece of quill, ivory or metal used to pluck the strings,” explained Cynthia Reeser in The History of the Harpsichord. “In the late 14th century a keyboard was added; this development soon led to the harpsichord in the early 15th century.”

Some of the early instruments, especially those made by the Italian makers, circa 1521, were somewhat small and lightly constructed.  It is reported that they have a characteristically pungent, immediate, almost at times percussive tone. The Flemish style instrument from the early 17th century was more solidly constructed than their Italian cousins. Two sets of strings and two manuals (keyboards) were common and they had a fuller sound.

In general, harpsichords were used for both solo work and as an accompanying instrument in chamber groups as well as larger ensembles. It was much in favor in the Baroque period as a ‘continuo’ or bass part in numerous compositions. In the late 18th century the harpsichord was gradually displaced by the piano.

So the piano, the instrument in many of our homes, has a long and storied history. It just didn’t happen – it came about through many prototypes and the genius of talented instrument makers of the past, for whom we are so grateful.

Please submit your questions and comments to banddirector01@comcast.net                                                                           Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

 

 

 

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Filed Under: ARTS, Notes on Key

The Music of American Graffiti

May 6, 2013 by Leave a Comment

The hit movie, American Graffiti, filmed in Modesto and Petaluma, California is one of the most influential of all teen films. It depicts multiple characters going through a coming of age, dealing with decisions to attend college or reside in a small town in the early 1960’s. Songs and music greatly influence the movie and are at the heart of the film as Dee Jay, Wolfman Jack, spins records of 41 tunes from various artists on the radio throughout the film.OLYMPUS DIGITAL CAMERA

George Lucas wrote each scene with a particular song in mind as its musical backdrop. The cost of licensing the 75 songs Lucas originally wanted was one factor in United Artists’ ultimate decision to reject the script; the studio also felt it was too experimental — “a musical montage with no characters.” Lucas co-wrote and directed the film that was finally produced by Universal after several other film producers turned it down. This was the first time a feature film of recorded musical selections (due to a low budget) was made. (United Artists also passed on Star Wars which Lucas shelved for the time being.)

American Graffiti depicts teenagers’ relationship with hot rod cars and their obsession with radio. Disc Jockey, Wolfman Jack’s broadcasts, with his mysterious and mythological faceless voice, ties the film together. Richard Dreyfuss’s character catches a glimpse of the mysterious Wolfman in a pivotal scene in the movie.

Prominent in American Graffiti was “cruising the strip.” This brought back memories when I was in high school in the fifties. On Friday and Saturday nights, we would “drag the main,” in our “cool cars,” blasting music on the radio, on Main Street in Walnut Creek. It was a ritual that lasted for many years – part of a rite-of-passage, as depicted in the film.

Some of the, now-nostalgic, songs played in the film are Rock Around The Clock by Bill Haley & the Comets; 16 Candles by The Crests; Runaway by Del Shannon; Why Do Fools Fall in Love by Frankie Lymon & The Teenagers; Fanny Mae by Buddy Holly, At the Hop and She’s So Fine by Flash Cadillac & The Continental Kids; The Stroll by The Diamonds; See You in September by The Tempos; Surfin Safari by The Beach Boys; The Great Imposter by The Fleetwoods; Almost Grown by Chuck Berry; Smoke Gets in Your Eyes by The Platters; The Book of Love by The Monotones; The Great Pretender by The Platters; Little Darlin by The Diamonds; Peppermint Twist by Joey Dee and the Starlighters; Ain’t That a Shame by Fats Domino; Johnny B. Goode by Chuck Berry and I Only Have Eyes for You by The Flamingos.

In its purest form, Rock & Roll music has three chords, a strong, insistent back beat and a catchy melody. Early Rock & Roll drew from a variety of sources, primarily Blues, Rhythm & Blues, Country, Gospel, Traditional Pop, Jazz and Folk. These influences combined in a simple, blues-based song structure that was fast, danceable and catchy. The first wave of rock & rollers were chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly, Bo Diddley, Bill Haley, Gene Vincent, The Everly Brothers and Carl Perkins, among many others. These rockers set the template for Rock & Roll that was followed over the next four decades.

As the late fifties gave way to the early sixties, the rockabilly stars of the previous decade – the Everlys, Elvis and Roy Orbison, to name a few, were still having hits, but the older pop-music stars were fading away as they struggled to find material that would click with this new and energetic generation of kids. Pop music gradually became controlled by new young vocal groups, taking their power from a combination of the performer’s charisma along with the songwriting talents of the production team, who operated behind the scenes. Eventually rock artists came to be expected to write and even produce their own songs, becoming responsible for everything about how their records sounded.

The music of the late fifties, as with society in general, morphed into the early sixties without too much alteration. The films’ 1962 setting represents nearing an end of an era in American society and pop culture.Rock & Roll music as well as the teen culture of the late fifties and early sixties was obviously very different than it is today. In just a few short years the society we knew then was about to change, rather drastically, never to return to those relatively halcyon days of the past. Growing up in suburbia (Lafayette) I was a teenager in the fifties and a young man in the sixties. At times it was rather disconcerting going from the calm fifties to the sometimes tumultuous sixties that occurred during my high school and undergraduate college days.

The advent of the 1960’s ushered in a new era in contrast to the comparative quiescence of the 1950’s. A new president was elected, the first president born in the 20th century. The hopes of many were dashed three years later with the assassination of John F. Kennedy. The Vietnam War unfortunately split the country almost in half and prompted many anti-war marches and rebellious acts. The counterculture movement was just around the corner.

Locally, the first onset of the free-speech movement was being acted out on the campus of the University of California, Berkeley by Mario Savio and others. It quickly spread across the country. It didn’t take long for some people to start calling Berkeley – “Berserkly.” These things and more had a lasting effect upon the country, socially and culturally. Thus, modern music today reflects a lot of this change.

The music associated with American Graffiti will live on in the annuals of modern American music and in the hearts and minds of those who experienced it live – and hopefully for generations to come.

Mark your calendar for the Danville Community Band’s Annual Spring Concert, Sunday, June 2, 2013 at 4 p.m., Lesher Center for the Arts in Walnut Creek. For reservations call 925-943-SHOW (7469)

Please submit your questions and comments to banddirector01@comcast.net Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

 

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Filed Under: Archives, Feature, May 2013

The Music of American Graffiti

May 6, 2013 by Leave a Comment

The hit movie, American Graffiti, filmed in Modesto and Petaluma, California is one of the most influential of all teen films. It depicts multiple characters going through a coming of age, dealing with decisions to attend college or reside in a small town in the early 1960’s. Songs and music greatly influence the movie and are at the heart of the film as Dee Jay, Wolfman Jack, spins records of 41 tunes from various artists on the radio throughout the film.OLYMPUS DIGITAL CAMERA

George Lucas wrote each scene with a particular song in mind as its musical backdrop. The cost of licensing the 75 songs Lucas originally wanted was one factor in United Artists’ ultimate decision to reject the script; the studio also felt it was too experimental — “a musical montage with no characters.” Lucas co-wrote and directed the film that was finally produced by Universal after several other film producers turned it down. This was the first time a feature film of recorded musical selections (due to a low budget) was made. (United Artists also passed on Star Wars which Lucas shelved for the time being.)

American Graffiti depicts teenagers’ relationship with hot rod cars and their obsession with radio. Disc Jockey, Wolfman Jack’s broadcasts, with his mysterious and mythological faceless voice, ties the film together. Richard Dreyfuss’s character catches a glimpse of the mysterious Wolfman in a pivotal scene in the movie.

Prominent in American Graffiti was “cruising the strip.”  This brought back memories when I was in high school in the fifties. On Friday and Saturday nights, we would “drag the main,” in our “cool cars,” blasting music on the radio, on Main Street in Walnut Creek.  It was a ritual that lasted for many years – part of a rite-of-passage, as depicted in the film.

Some of the, now-nostalgic, songs played in the film are Rock Around The Clock by Bill Haley & the Comets; 16 Candles by The Crests; Runaway by Del Shannon; Why Do Fools Fall in Love by Frankie Lymon & The Teenagers; Fanny Mae by Buddy Holly, At the Hop and She’s So Fine by Flash Cadillac & The Continental Kids; The Stroll by The Diamonds; See You in September by The Tempos;  Surfin Safari by The Beach Boys; The Great Imposter by The Fleetwoods; Almost Grown by Chuck Berry; Smoke Gets in Your Eyes by The Platters; The Book of Love by The Monotones; The Great Pretender by The Platters;  Little Darlin by The Diamonds; Peppermint Twist by Joey Dee and the Starlighters; Ain’t That a Shame by Fats Domino; Johnny B. Goode by Chuck Berry and I Only Have Eyes for You by The Flamingos.

In its purest form, Rock & Roll music has three chords, a strong, insistent back beat and a catchy melody.  Early Rock & Roll drew from a variety of sources, primarily Blues, Rhythm & Blues, Country, Gospel, Traditional Pop, Jazz and Folk. These influences combined in a simple, blues-based song structure that was fast, danceable and catchy. The first wave of rock & rollers were chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly, Bo Diddley, Bill Haley, Gene Vincent, The Everly Brothers and Carl Perkins, among many others. These rockers set the template for Rock & Roll that was followed over the next four decades.

As the late fifties gave way to the early sixties, the rockabilly stars of the previous decade – the Everlys, Elvis and Roy Orbison, to name a few, were still having hits, but the older pop-music stars were fading away as they struggled to find material that would click with this new and energetic generation of kids. Pop music gradually became controlled by new young vocal groups, taking their power from a combination of the performer’s charisma along with the songwriting talents of the production team, who operated behind the scenes. Eventually rock artists came to be expected to write and even produce their own songs, becoming responsible for everything about how their records sounded.

The music of the late fifties, as with society in general, morphed into the early sixties without too much alteration. The films’ 1962 setting represents nearing an end of an era in American society and pop culture.Rock & Roll music as well as the teen culture of the late fifties and early sixties was obviously very different than it is today. In just a few short years the society we knew then was about to change, rather drastically, never to return to those relatively halcyon days of the past. Growing up in suburbia (Lafayette) I was a teenager in the fifties and a young man in the sixties. At times it was rather disconcerting going from the calm fifties to the sometimes tumultuous sixties that occurred during my high school and undergraduate college days.

The advent of the 1960’s ushered in a new era in contrast to the comparative quiescence of the 1950’s. A new president was elected, the first president born in the 20th century. The hopes of many were dashed three years later with the assassination of John F. Kennedy. The Vietnam War unfortunately split the country almost in half and prompted many anti-war marches and rebellious acts. The counterculture movement was just around the corner.

Locally, the first onset of the free-speech movement was being acted out on the campus of the University of California, Berkeley by Mario Savio and others. It quickly spread across the country. It didn’t take long for some people to start calling Berkeley – “Berserkly.”  These things and more had a lasting effect upon the country, socially and culturally. Thus, modern music today reflects a lot of this change.

The music associated with American Graffiti will live on in the annuals of modern American music and in the hearts and minds of those who experienced it live – and hopefully for generations to come.

Mark your calendar for the Danville Community Band’s Annual Spring Concert, Sunday, June 2, 2013 at 4 p.m., Lesher Center for the Arts in Walnut Creek.  For reservations call 925-943-SHOW (7469)

Please submit your questions and comments to banddirector01@comcast.net Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

 

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Filed Under: Archives, Column, May 2013

San Francisco Symphony Maestro Honors Famous Grandparents – Boris Thomashefsky: A Pioneer of “Borscht Belt” Entertainment.

March 29, 2013 by Leave a Comment

An important and vibrant part of the early American Yiddish musical and theatrical productions was virtually forgotten until recently brought to life by none other than the eminent maestro of the San Francisco Symphony, Michael Tilson Thomas.

Tilson Thomas, the award-winning conductor, is also the primary researcher and conservator of his famous grandparents, Boris and Bessie Thomashefsky’s memorablia.

The Thomashefskys were prominent leaders of the American Yiddish Theater in the lower east side of New York City during the last of the 19th and early 20th centuries.

As a young boy growing up in Los Angeles, Tilson Thomas listened to his grandmother, Bessie, relate stories and sing Yiddish songs from her days as a prominent star in the Yiddish Theater. He was intrigued by these early beginnings and what was to become an important element in early musical and theatrical productions.  Years later Tilson Thomas, as a tribute to his grandparents, produced The Thomashefskys: Music and Memories of a Life in the Yiddish Theater. 

The Ukrainian-born Boris Thomashefsky (1868-1939; there is some disagreement that it was either 1866 or 1868) was a Jewish singer and actor who immigrated to America when he was 12 years old. As a young teenager, he almost immediately made a name for himself and was credited with one of the first performances of Yiddish theater in New York City. He was a pioneer of “Borscht Belt” entertainment.

“Bessie (aka Bessie Baumfeld-Kaufman) Thomashefsky, (1873-1962) was a turn-of-the-century superstar,” said Dan Pine, a staff writer for J Weekly. “With her husband, Boris, the Jewish immigrants were the Richard Burton and Liz Taylor of the lower east side, pioneers of a tradition that helped evolve into the Boardway musical.”

The Thomashefskys did much to shape the world of modern theater from the follies to Broadway and gave a start to many actors, composers and producers who then went on to start and own theaters and movie studios. Even the Gershwin brothers had their start with the Thomashefskys.

Boris and Bessie met in 1887. She was enthralled with the handsome 19-year-old Boris whom she saw in a Baltimore production of a Yiddish touring company. Bessie soon ran away from home to join Boris’ company. Sparks flew between the two and they married in 1891. They made a team that was virtually unmatched in Yiddish theatrical and musical productions. It should be noted that they were not the only producers of Yiddish Theater but certainly the most noted and famous. “The Thomashefskys were, without a doubt, among the most important producers of popular Yiddish culture in North America,” said Steven Zipperstein, History professor at Stanford University.

“The music of the Tilson Thomas production is captivating, warm, beautiful … is not simple music, but so well composed,” said Israeli-born soprano, Ronit Widmann-Levy. “The texts are about love, waiting for love and looking for love. The possibilities are limitless,” said singer/actor, Shuler Hensley. “It is part of New York history, not just Jewish history and the music is so outstanding and was lost for so long.”

The music was reconstructed by Tilson Thomas and it is an orchestral sound not heard in New York for many years. Older repertoire represented in the production is about 120 years old. The newest music is from circa 1920.

At the turn of the 20th century and beyond, the Thomashefskys gave to New York and the burgeoning Jewish immigrant population, a Yiddish music and theater scene unheard of before their influence. This segment of the population was starved for entertainment and the Thomashefskys filled that need and then some.

To great acclaim, they staged original drama, comedies, their own Yiddish translations of Ibsen and Shakespeare and above all, music. So pliant was his (Boris) voice, sometimes he played women’s roles and  Bessie, also was known for doing “trouser-roles” – women playing young men, according to Dan Pine.

This dramatically shows the great versatility and wealth of talent of Boris and Bessie Thomashefsky. The Tilson Thomas production recreates the rich heritage, both music and drama of a ground-breaking couple that helps to restore them as progenitors of an art form so important in early 20th century America.

 

Don’t forget the Danville Community Band’s annual Blackhawk Museum Concert “Americana” Sunday, April 14, 2013 at 2:00 p.m. Free concert with museum entrance fee. Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

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Filed Under: April 2013, Archives, Column

Circus Music

March 6, 2013 by Leave a Comment

0313Notes-on-Key-CircusOne of the greatest entertainment vehicles of the late 19th and early 20th centuries was the traveling circus. When the circus came to town, everyone came out to see this spectacular show. It was a major form of entertainment for many years, hence the slogan, “The Greatest show On Earth!” It still exists today. Circus music is a mainstay and is absolutely indispensible to the varied acts of the show. The music became almost a genre in itself.

The Circus Parade through the town streets offered an exciting preview of all the glories to come in the Big Top. This parade soon became a tradition in America’s smaller towns and cities. One of the most ornate and decorated wagons was the horse drawn band wagon. The musicians would play while the parade advanced down the street. The band wagon, along with the elephants and big cats, became a major attraction in the parade.

After the Civil War ended in 1865 there was a plethora of military band musicians looking for work and most of the circuses were looking for excellent musicians to fill their bands. Many of these military musicians found gainful employment with circuses.

The years 1870 to 1880 saw the size of the band increase from just several musicians to a full instrumentation concert band. Prior to 1870 very little special music was composed for the circus. After 1870 music specially composed for enhancing the entertainment aspects of the show and even certain acts like animal, trapeze and clowns were becoming the standard. By 1890 the music directors were part of the planning of the circus acts. It was obvious that by the last decade of the 19th century music had become a critical part of the circus.

The “Center Ring Concert” often occurred prior to the beginning of the show. It became so popular that people would come early just so they could hear a concert of fine music and it soon became part of the total circus entertainment. Of course, the time period was long before mass-produced recordings, radio or touring ensembles were common-place like today. In small towns this concert of classical and theatrical show music from Europe and Broadway was possibly the cultural highlight of the year in rural America.

“The Great Merle Evans” (1891-1987) called “The Toscanini of The Big Top,” was the most famous director of circus music. He conducted and wrote for the Ringling Brothers and Barnum & Bailey Band from 1919 to 1969 – 50 years! He was, without a doubt, the dean of circus band directors. Evans directed over 18,250 performances without ever missing one.

Music for circus performance was at its peak around 1900. Some of the most notable composers were from the first two decades of the 20th century. Russell Alexander (1877-1915) and Walter “Woody” English (1867-1916), two very famous circus composers, were musicians in the Barnum & Bailey Band at the turn of the century.

Karl King, Fred Jewell, Charles Duble, Henry Fillmore, J.J. Richards, Al Sweet and P.G. Lowery were other famous circus music composers and musicians. These men were all leaders around 1900 to 1930, “The Golden Age of the Circus.” Many others, too numerous to mention, all contributed to the wealth of circus music.

Some of the most recognizable tunes from these great composers include: Ringling Brothers Grand Entry; Barnum and Bailey’s Favorite; Entry of the Gladiators; The Circus Bee; The Flying Trapeze; The Billboard March; Bravura; Jewells Triumphal; Lassus Trombone and Colossus of Columbia.

As more and more railroad companies came on the scene, the circuses immediately saw the advantage of using the train to transport the circus including the animals, cast of entertainers and equipment from town to town more rapidly than ever before. Special rail cars had to be built to accommodate elephants, big cats, horses and other animals that were part of the show.

In the past, the circus went to their winter quarters in Sarasota, Florida and some stayed in Peru, Indiana, the boyhood home of the famous song-writer, Cole Porter. Both places have circus museums and in Sarasota they often present live performances for visitors. Check the internet for information on these well-visited attractions.

After 1930, the circus saw a decline commensurate with the early days of the great depression and the on-set of radio and mass recordings. To learn more about circus music, history and lore contact Windjammers Unlimited, Inc. at www.circusmusic.org. The Windjammers is a society of enthusiasts who play and preserve the heritage of traditional circus music. Many thanks to Dr. Patricia Wheeler, a member of Windjammers and a flutist in the Danville Community Band, for making available resources to research this article.

Please submit your questions and comments to banddirector01@comcast.net
Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

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Filed Under: Archives, Column, March 2013

Music of Romance on Valentine’s Day

February 5, 2013 by Leave a Comment

“Life is a song, love is the music.” ~unknown

The month of February is the undisputed month of romance and love. Just prior to Valentine’s Day on February 14th, many people, especially men, are seen scurrying around trying to find the perfect gift for their sweetheart. These gifts usually take the form of candy, flowers – especially red roses – perfume, jewelry and chocolates – preferably in red heart shaped boxes. But what is more romantic than holding your loved-one close at a quiet evening at home, or at a Valentine’s Day dance or party, dancing to the music of romance and love?

Music of Romance

There is nothing more endearing to lovers and sweethearts than songs of love and romance. For lovers music can be one of the most fascinating ways to express their love and affection for one another. What can be a better gift to lovers than romantic songs which have the power to express deep feelings and tell your beloved that you are there for them forever! Music has the power to inspire so many feelings and emotions, especially feelings for a special person in your life. Songs can often say what is in your heart and say it with words that may not be your own but help express what you really mean.

Popular love songs: The First Time Ever I Saw Your Face, How Sweet it is to be Loved by You, and I’m in the Mood for Love, are tunes that have endured for years. Many romantic tunes come and go but Unchained Melody, You Belong to Me, And I Love Her, by the Beatles, and Can’t help Falling in Love, by Elvis, will be staples for generations to come. Love songs are always popular but on Valentine’s Day they are the choice of listeners everywhere.

A Brief History of Valentine’s Day

Saint Valentine, an early Christian saint, died more than a thousand years ago. Pope Gelasias in 496 A.D .proclaimed Feb 14th as a feast day in honor of St. Valentine, a Roman martyr. Chaucer, in the Middle Ages, and later Shakespeare both romanticized Valentine’s Day in their writings. As early as the 15th century young romantics were expressing their love by giving gifts, such as flowers and candy, and sending greeting cards known as valentines. Saint Valentine signed a letter to a young girl with, “from your Valentine” an expression that is widely used today.

In 1797, “The Young Man’s Valentine Writer,” a British publication, was aimed at young lovers who were not prone to, or sometimes unable, to write their own sentimental verses. Apparently it was a great help-mate to many young men. Valentine cards that were already written made it much easier to send sentiments of caring and love. These cards were much more convenient but of course, less personal. In England the cards became so popular in the early 19th century that they were mass produced and assembled in factories. Esther Howland of Worcester, Massachusetts produced and sold Valentine cards before 1847 in the United States. Hallmark Cards Inc. began mass producing Valentine cards in 1913.

Valentine’s Day has become a major holiday in the United States, although it is a working day, not a legal non-working holiday. It has become a fabulous commercial success for businesses –25% of all cards sent in the United States are Valentine’s Day cards. Interestingly, teachers receive the most cards followed by children, mothers, wives and sweethearts.

Music can lift the hearts and spirits of lovers throughout the world, and not just on Valentine’s Day. The music of romance will help enhance The Power of Love, Change the World, (Eric Clapton) and Because You Loved Me, (Celine Dion) I will always Love You, (Whitney Houston.) and, Save the last Dance for Me.

Have a lovely Valentine’s Day and here’s a good way to celebrate this year: What I Did for Love, the Danville Community Band’s Annual Dinner Concert, Sunday, February 10, 2013 at 5:30, No Host Bar. 6:30, Dinner. Call the Blackhawk Country Club for reservations 925-736-6500.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

 

 

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Filed Under: Archives, Column, February 2013

Music & Sports – “Music is like a legal drug for athletes.”

January 14, 2013 by Leave a Comment

Music and sports — are they compatible? Do they somehow relate to one another or are they completely devoid of any relationship whatsoever? It may surprise a lot of people but music and sports are not mutually incompatible. Although at first glance, they may seem like polar opposites but on close examination they do share some common characteristics.

Many people use music as part of their everyday exercise program at home or at the gym, or sometimes both. Music appears to enhance and encourage – evidence the vast array of exercise videos that are on the market. Most, if not all, use music as the basis of exercise. Listening to music makes your workout easier and more fun!

Students learn many things in the music classroom and on the sports field. They learn to be part of a group with common goals and interests. Paramount in both endeavors is teamwork – working together to produce the best possible results. They also learn the value of hard work, practice and rehearsing, discipline and leadership. Not only are these essential to a successful music or athletic program, but they will carry over to one’s adult life.

“Let’s give students a chance to experience two programs that may seem different but are really extremely similar, as they offer students the chance to excel in so many physical, emotional, intellectual and spiritual ways,” wrote Michael Morgan in Tearing Down the Walls between Music and Athletics.

Dr. Costas Karageorghis, of Brunel University, London, England, is a noted sports psychologist and a leading authority on music and exercise. He has done studies that clearly show how athletes that were exposed to synchronous music—music that has a clear and steady beat—elevated their performance by 20%.

Dr. Karageorghis also theorizes there are four main components to the effects of music on an athlete. First, it can distract an athlete from fatigue; second, it can act as a mood altering catalyst; third, it can synchronize an athlete’s rhythm and movement, and finally it can act as a trigger for learning certain motions and aid with muscle memory. “Music is like a legal drug for athletes,” said Dr. Karageorghis. “The rhythmical qualities of music also emulate patterns of physical skills; therefore, music can enhance the acquisition of motor skills and create a better learning environment.”

In a series of interviews of musicians and athletes at Pepperdine University in Malibu, California, some interesting anecdotal statements came from the respondents. Tim Ward, one of the head coaches who is also an accomplished musician said, “Both music and athletics require a great deal of concentration and focus especially with the more difficult techniques.”

Matt Hahn, a junior water-polo player, is also a bass player for a worship team. “I would have to say that as I was developing musically I was also developing athletically,” said Hahn. “The number of hours spent to be successful at both playing music and playing a sport are very similar.”  Ward and Hahn both agree that as their musical skills are improving, so are their athletic skills. “Those who were part of music were much better on the sports teams than those I knew who were not involved in music before participating in athletics,” said Hahn.

There is ample evidence from professional sports psychologists and actual musician/athletes that there is a strong correlation between music and athletics. Learned traits outside of sports, such as music, can cross over to sports and enhance athletic performance.

In my years of experience as a teacher at the high school level and professor at universities, I have personally seen students who excel in music often do well at various sports. If you are a music student, a football player, a gymnast, a workout enthusiast or just a walker, music will add life, energy and fun to your activity.

Don’t miss the Danville Community Band’s Annual Dinner Concert at the Blackhawk Country Club on Sunday, February 10, 2013. Contact the Blackhawk Country Club at 925-736-6500 for reservations. Seating is limited.

 

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

 

 

 

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Filed Under: Archives, Column, January 2013

Music of the Season

December 6, 2012 by Leave a Comment

“Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything.” Plato

What would the holidays be like without Christmas music? One of the most enjoyable and popular aspects of the holiday season is Christmas music, best exemplified by the singing and playing of Christmas carols and songs. There are many different types of Christmas music, both for adults and children: classical, country, pop, rap, jazz, blues, ancient carols and modern songs, to name a few.

During the Christmas season, we all hum or sing along with secular songs like White Christmas, Jingle Bells and Rudolph the Red-Nosed Reindeer; many of these songs bring back childhood Christmastime memories. Christmas music plays a very important role for our happiness and well-being during this great season.

History of Christmas Music

Christmas music dates back hundreds of years, some as early as the thirteenth and fourteenth centuries. However, many of the carols we sing today were written around the middle of the eighteenth century. The word carol or carole is a medieval word of French and Anglo-Norman origin, believed to mean a dance song or a circle dance accompanied by singing. Broadly defined, carols express religious joy and are often associated with the Christmas season. Music originating in England and Germany make up many of our favorite carols. Christmas carols were actually banned in England during 1647-1660 by Oliver Cromwell, Lord Protector of the Commonwealth of England. He thought Christmas should be a solemn and holy day and not be distracted by the singing of carols. During the time of Francis of Assisi, the singing of carols in ones native language was advocated and developed. The translation of many of our popular carols was brought to America from Europe.

 Christmas Music Genres

 Sacred: Basically there are two categories of Christmas music: Sacred and secular. There are many Christmas carols of a sacred nature: Silent Night, What Child is This? and O’Come All Ye Faithful, among a myriad of others. Charles Wesley, the great English reformer, understood how music enhances religious services and wrote the famous carol, Hark! The Herald Angels Sing. Martin Luther, the famous German religious reformer, advocated the use of carols, many he personally wrote.

Sacred Christmas music usually tells the story of the Christ Child and other religious topics. Two great examples of baroque sacred music are J.S. Bach’s (1685-1750) Christmas Oratorio and George F. Handel’s (1685-1759) masterpiece, the oratorio, Messiah.  I wrote about these two in “Hallelujah – Christmas Music of Bach and Handel” in the December 2010 issue of “Notes on Key.”  These two works are quite lengthy with multiple sections relating many passages and stories from Biblical selections.

Secular:  White Christmas is an Irving Berlin song he wrote in 1940. After writing the song, Berlin told his secretary, “Grab your pen and take down this song  I just wrote, the best song I’ve ever written — heck, I just wrote the best song that anybody’s ever written!” According to the Guinness Book of World Records the version sung by Bing Crosby is the best-selling single of all time, with estimated sales in excess of 50 million copies worldwide.

Song-writer, Johnny Marks, wrote the lyrics and melody to Rudolph the Red-Nosed Reindeer, recorded in 1949 by Gene Autry at the urging of Autry’s wife. The song was turned down by many musical artists afraid to contend with the legend of Santa Claus. The song sold over two million copies that year and became one of the best-selling recordings of all time, second only to Crosby’s White Christmas.

The popular Jingle Bells, originally titled One Horse Open Sleigh, was written in 1857 by James Lord Pierpont. The song was meant for a Thanksgiving program at a church in Savannah, Georgia where Pierpont was organist.  It was so well liked that it was sung again on Christmas day and became the popular Christmas song it is today.

The singing of carols and caroling remains a favorite family tradition. Before radio and television families would gather together and sing their favorite Christmas carols.  Many modern families still carry on that great holiday tradition.

Christmas caroling is a wonderful and uplifting activity to engage in with other like-minded people. When caroling in neighborhoods it is not uncommon to have cookies, hot chocolate or hot cider offered to the carolers by the people being treated to the music. Many schools and churches have groups that go caroling every year. A favorite stop is at nursing homes or retirement centers – the people really enjoy the music and the singing often brings back memories of their youth and happy times.

Often the holidays become stressful and tedious with so many chores, to do—shopping, decorating, preparing for houseguests and many of other things—so, to relieve your tensions, turn on the radio, or play a CD of great holiday music. This will lift your spirits and help get the job at hand done in record time. Music is a balm to the mind, spirit and body. Not only during this holiday season but at anytime of the year

“We Wish You a Merry Christmas and a Happy New Year!

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.      

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Filed Under: Archives, Column, December 2012

The Music of Friends – Chamber Music

November 2, 2012 by Leave a Comment

If you have had the pleasure of attending a chamber music concert, then you undoubtedly experienced the intimate expression of musical ideas that are uniquely inherent in a small ensemble. Chamber music has been described as the “music of friends” because it was and is written and played by amateur or professional musicians, for real music lovers, either for aristocratic and princely courts or in formal parties in private homes.

One dictionary definition of chamber music is: instrumental music for a small ensemble where each part is played by only one performer suitable for a small audience in a small chamber or room. Hence, because this music was suitable for rooms smaller than the great concert hall, it was called chamber music.

There are many people who prefer and appreciate the intimacy, subtlety and refinement a small ensemble offers rather than a large symphony orchestra. “It is at once one of the most enjoyable and most dignified of literature,” wrote Homer Ulrich in his book Chamber Music.  “To know chamber music is to revere it; to hear chamber music is to enjoy it.” Johann Wolfgang von Goethe happily described chamber music, specifically the string quartet, as “the serious conversation of four individuals.”

Origins

Although the progenitors of early chamber music date back to the medieval period, almost all chamber music dates from around 1750, the so called beginning of the classic period. During this period the most famous and prolific composer and interpreter was Franz Joseph Haydn (1732-1809), who established the form and style we hear to this day. He became known as the “father of the string quartet.”  This great tradition, established by Haydn, was carried on by Wolfgang Mozart (1756-1791), Ludwig van Beethoven (1770-1827), and many successors up to the present time.

During the 18th century, many prominent composers were in the purview of aristocrats and royalty. Haydn, for example, was the employ of Prince Nikolaus Esterhazy of Eisenstadt, (some historians say he was a Count) and was influential in European politics and art. It was here that Haydn honed his compositional skills to an exceptional degree.

The aristocracy began to decline in the early 19 century and musicians had to make their own living by selling, composing and performing on their own without the help of their aristocratic employers. This ushered in a new era of chamber music.

Chamber music was mostly amateur music played in small rooms in private houses until well into the 19th century. Unlike today, with music available at the push of a button, two hundred years ago people had to make their own entertainment including making music.

This all changed around the time of Beethoven. “Professional chamber music players became active, and the two classes, mainly performers and listeners, took a long step back from each other. It became more fashionable to listen than to play,” according to Ulrich.

Clarinet Chamber Music

Wolfgang Mozart introduced the clarinet in the chamber music repertoire. It has been the mainstay ever since. Obviously, the string quartet is the predominating medium for chamber music. But there are many other instrument combinations in the chamber music repertoire.

Clarinet Fusion

‘Clarinet Fusion’ is a brand new group in the Bay Area chamber music scene. It is a unique clarinet ensemble made of all the clarinets used regularly in bands and orchestras, some rarely used. The fledgling group has already performed several concerts to rave reviews. Many of their listeners have commented they had no idea clarinets could sound so marvelous in combination with each other. “The range and versatility of the clarinet is really quite remarkable, said Karyn Weber, founder of Clarinet Fusion and Principal Bass Clarinet in the Danville Community Band.

The clarinets used in the ensemble are: the A-flat piccolo, E-flat sopranino, B-flat soprano, E-flat alto, B-flat bass, EE-flat contra alto and the BB-flat contra bass clarinet.  Together they make a wonderful, glorious sound which is rarely heard in any other ensemble.

I was flattered when I was asked to be the director of this group of very talented clarinet musicians. Being a clarinetist myself, I didn’t hesitate to say “yes” and I am enthralled by their fine playing. The ten musicians in Clarinet Fusion, collectively, boast more than 350 years of clarinet-playing experience. Please don’t hesitate to attend a concert and hear for yourself a wonderful new sound. Clarinet Fusion is available for parties and other events. For information call 925-372-8847.

Please submit your questions and comments to banddirector01@comcast.netVisit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

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Filed Under: Archives, Column, November 2012

Local Music Tips – Where to Find Musical Instruments and Music Instruction

October 9, 2012 by Leave a Comment

It is surprising how many times I am asked about where to go to buy certain musical items. The questions range from where can I buy musical instruments? Who rents instruments? And how can I find a private teacher to teach my son saxophone?

Music stores in our local area are generally multi-service establishments. They carry a multitude of all things musical. Some specialize in guitars and portable keyboards; others carry a full range of band instruments and some also carry the string family of violin, viola, cello and string bass.

You can also find sheet music, not only for piano, but for other instruments as well. Almost all stores carry method books for most instruments. Method books contain musical studies and exercises consisting of scales, technical exercises, etudes, solo pieces and duets that a student can play with a teacher. All private teachers use some kind of method book when teaching instruments.

Repairs
The repair department is an important component of many music stores. Not all stores do repairs of instruments but it is not hard to find a good repair department by asking a few questions. A good repair department will not only repair woodwind and brass instruments but many will repair percussion equipment as well. Some stores do on-site repairs and others send out the instruments to qualified repair technicians. The repair of expensive musical instruments should not be entrusted to anyone but a professional, qualified repairman with a good “track record.”

Danville Music
“My goal is to get music in people’s heads, hands, and hearts,” said Greg Kennedy, owner of Danville Music. Kennedy has owned Danville Music since 1989 and is also an excellent guitar teacher. They have a working relationship with the San Ramon Valley School District and have instigated the “Working with Dollars” discount program. Danville Music is a full-line store carrying all instruments including woodwinds, brass, percussion and strings and offers music instruction for all ages and levels. They have an extensive inventory of sheet music and instrument method books. Rental instruments with purchase options are also available. “We also do instrument repair on site,” Kennedy said. “The teachers are experienced professionals – not fresh out of college.” Danville Music’s website is wwww.danvillemusic.com and they are located at 3 Railroad Avenue in Danville, their phone number is 925-743-0898.
House of Woodwinds

“Our store is a complete music store selling instruments, repair services, instrument rentals and lessons,” said Dave Otteson, manager of House of Woodwinds in San Ramon. They also stock sheet music and method books. Don’t be deceived by the name, they carry all instruments, not just woodwind instruments. The store started in Oakland many years ago. “The local store can’t be replaced,” Otteson said. “We have lots of stock at competitive prices.” Private teachers are listed at houseofwoodwinds@gmail.com. They are located at 2205-C San Ramon Valley Blvd. in San Ramon. Phone: 925-831-8341.

Runzo’s Music World
Dean Runzo, owner of Runzo’s Music World in Dublin, said, “We have a complete music store that services what we sell.” They sell all instruments including pianos, keyboards, guitars and percussion. “We do extensive work with the Dublin School District helping to inspire young musicians,” said Runzo. The store does repair work and has eighteen music instructors that teach virtually all the instruments. Runzo’s Music World has been a family business for over forty years and is located at 7017 Village Parkway, Dublin. Website is www.runzosmusicworld.com/ Phone: 925-829-4333.

Reeder Music Academy
“We are dedicated to offering the best music instruction possible,” said Douglas Christman, piano instructor at Reeder Music Academy. Their goal is to make learning an enjoyable and rewarding experience for all ages, 4 through 74.They offer instruction in all instruments and vocal training. Approximately eighty percent of their students are of school age and the rest are adults. They have twelve teachers that are all professional musicians and the academy presents multiple recitals during the year. They are located at 3482 Camino Tassajara in Danville at the Tassajara Crossing Shopping Center. Website: www.reedermusicacademy.com/Phone: 925-964-0571.

These are just a sample of the music store resources in our area. Whether it is learning to play an instrument, exposing your child to the joys of playing music or just listening to others play – the Tri-Valley area offers many opportunities to be involved in the world of music. Music is a wonderful, enriching endeavor that one can enjoy for a lifetime.

Please submit your questions and comments to banddirector01@comcast.net
Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

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Filed Under: Archives, Column, October 2012
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