Soapbox

My brain persists in thinking that many years ago I wrote about today’s primary point, but repeated searching fails to find any evidence of it. So maybe I only thought about blogging about it. It is certainly an opinion I have held since before I started this blog – there are arrangements I did back in 2006-7 where I can remember thinking about it. And my recent listening experience has me wanting my fellow arrangers to think about it too.

So the point is this: a cappella arrangements usually need to be shorter than versions of a song that include instrumental (and/or electronica) accompaniment. This is partly because when working with a limited timbral palette you haven’t got the resources to build such a large structure (in much the same way that orchestral pieces are often longer than chamber or solo pieces). With less opportunity to generate variety, longer structures can feel as if they are sagging under their own weight. This is particularly evident if you are also constrained texturally (as in contest-grade barbershop) but is true even if you have a free hand with your textural options.

One of the things I came away from two Conventions’-worth of binge-listening with was a strong opinion about the writing of original lyrics. There is a clear right way and wrong way to do this and a lot of people seem to be unnecessarily choosing the latter.

So, you know how you write jokes? You do the set-up first, and once people have all the information they need to get the joke, you deliver the punch-line, preferably ending with the word that creates the laugh, or at most one or two words after it. This is the principle that drives the writing of non-funny material too: you land on the most important point at the cadence-point.

Yes, I know that the broken chord is a rather niche subject for an opinion-piece to start the year, but just because a subject is a tad obscure doesn’t mean you can be vehement about it. So, here goes.

You will have noticed that a lot of pieces of music involve as part of their texture the sounding of chords a note at a time rather than all together, typically as accompaniment to a melody, though sometimes as primary thematic material. It offers a sense of flow, and a more transparent, less assertive effect than sounding all the notes at once.

In SATB music, it’s relatively easy figure out which part people should sing if they don’t already know. The texture is built around a divide by sex, with a split between higher and lower voices in each. So you just see what kind of range someone has, and slot them in where the notes they have and the notes the music needs coincide. Some people (counter-tenors, female tenors) defy the first part, but the stratification by range still works, so the model as a whole presents safe a generalisation of how to go about things.

One of the defining characteristics of barbershop music is that the parts are all much less differentiated by range (there’s a clue in the description ‘close-harmony’). Thus, most people can readily sing at least two of the parts, usually three, sometimes all four. You’d think this would take some of the pressure off the decision-making process of part-allocation, but in fact it seems more often to intensify the reliance on social stereotyping in identifying parts.

One of the standard bits of etiquette in remote rehearsing, and indeed any other large-group gathering via video-conferencing platforms, is that you spend most of the time with most people’s microphones turned off. This way you can cough without the focus of the conversation highlighting your discomfort, and nobody else is distracted by the dogs barking from your next-door neighbour’s garden.

All good so far. But I have nonetheless felt uncomfortable when choral colleagues joke about how they wish they could have a ‘mute all’ button when they go back to normal rehearsals. Call me humourless, but aren’t you just saying by this that you run inefficient rehearsals that leave dead space for nattering? Or is it that you like to exert your leadership by fiat, rather than by consent? Either way, cutting across people to shut them up feels rude; if you wouldn’t go and stick a piece of masking tape over someone’s mouth mid-sentence in real life, then you wouldn’t want to slam on a 'mute all' button online.

There’s a moment in The HitchHiker’s Guide to the Galaxy when Slatribartfast asks Arthur, ‘Is that your robot?’

‘No,’ says Marvin, ‘I’m mine.’

This scene comes to mind every time I hear a barbershop tag that finishes a love song with the information that the beloved is now, ‘Mine, all mine’. However much sympathy I have had for the sentiments expressed up to that point (which is often quite a lot; I’m a soppy old soul despite my misanthropic appearance), it largely evaporates in the face of this blatant possessiveness.

You can’t own the person you love most in the world. Even once they have decided to team up with you so you can build a life together, they are still their own person with their own preferences and opinions and needs and – most importantly – the right to determine their own destiny. Asserting that they are all yours doesn’t make you sound romantic, it makes you sound like Monty Burns gloating over a pile of gold.

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Ever since I started writing about race and repertoire a couple of years ago, I have been quietly fretting about a particular piece of piano music that I, like many piano students, learned in my teens for one of my grade exams. It is still appearing on exam syllabuses today. Earlier this spring, these private misgivings became public when I found myself involved in an online conversation about its problematics with a group of pianists and piano teachers, many of whom also teach and perform it.

The piece in question is ‘The Golliwog’s Cakewalk’ from Debussy’s Children’s Corner suite. The conversation has stayed with me since, forcing me to clarify my own feelings about the piece. I’m reflecting on those feelings here to try and bring some coherence to them in the aftermath of the difficult experience of finding myself at odds with people I’d usually identify with quite strongly. I keep telling myself it’s the uncomfortable experiences that lead to growth.