August 2019

Playing with the Icicle 7th

Published by Liz Garnett at Helping You Harmonise on Tuesday 27th August 2019

click on the pic to see it biggerAt the Telfordaires we recently spent a chunk of rehearsal exploring the sonority of the Icicle 7th. And since I had in the process ended up with a nice picture of it, I thought I’d share it with you as well. The original picture I drew of this on our flipchart in rehearsal wasn’t either as neat or as colourful as this, but since I forgot to take a photo of it for our weekly notes, I had to recreate it at home, and took the opportunity to spiffy it up a bit.

So, we started out by singing a normal barbershop 7th. (That’s a dominant-type 7th for normal musicians; we let you use them, because we like to share, but know that they’re ours.) Basses on root, baris on the 3rd, leads on the 5th, tenors on the 7th.

How to Harmonise Missing Downbeats

Published by Liz Garnett at Helping You Harmonise on Wednesday 21st August 2019

One of the niche challenges of a cappella arranging is how to handle melodies that feature a rest on the first beat of the bar. The reason this is an issue is that the change of harmony at the start of a bar not only plays a role in supporting the melody and shaping the phrase, but is also the primary means by which we perceive metre.

Interestingly, this is a melodic feature that appears in a variety of rhythmic guises. I’ve come across it arranging in stylistic contexts from reggae tunes like One Love to ballads like Someone to Watch Over me.

What Your Notation Program Will Reveal to You, and What it Will Hide

Published by Liz Garnett at Helping You Harmonise on Thursday 15th August 2019

Arranging

I am of a generation to have gone through my student years, and indeed the start of my lecturing career, before notation programs were the normal way to write music. (I also wrote all my undergraduate essays by hand. Astonishing to think that I used to have handwriting that other people could read. Sort of; there were some complaints.) It used to take a lot more time to produce a score and parts back then. Oh my, producing parts was painful...but then again spare a thought for those musicians who lived before the invention of the photocopier.

Anyway, using a notation program is not only faster and more legible than writing everything out by hand, it gives you a different relationship with material. In particular, playing back what you’ve just written is fundamentally different when it isn’t you at the piano but a device that is not only external to you (and so will play what you actually wrote, not what you thought you wrote), but guaranteed to play it accurately.

So I am eternally grateful for the helpful people who invented this tool.

Exploring New Music with Affinity Show Choir

Published by Liz Garnett at Helping You Harmonise on Saturday 10th August 2019

Coaching

Action warm-up pic!

Thursday evening took me up to Stockport to have an initial session with Affinity Show Choir on two new arrangements they have commissioned from me for LABBS Convention this autumn. We have a date in the diary for a full day on them next month, but they wanted and initial undergrowth-clearing session before then to get the big-picture issues identified so they could come into that day prepared and ready.

We’d already had a productive dialogue about how the songs wanted shaping during the commissioning process, as it was this package that inspired my post To Recreate or Reimagine?. Their director Andrew and I had had quite a long phone conversation that involved singing bits to each other to discuss phrasing, then he had put together a guide track to inform the person making learning tracks for him, and run that past me before commissioning the tracks. As a result I went in knowing that they had been learning the music from materials that made sense of the intended musical world, so we could get straight into refining the fit between musical detail and their expressive personality as a chorus.

On Replacement Cycles

Published by Liz Garnett at Helping You Harmonise on Monday 5th August 2019

Many years ago, someone told me that the average time that a professional comedian keeps any particular joke in their act is 7 years. Soon after that I went to see Hattie Hayridge for the second time – 7 years after I had first seen her. I recognised one joke from the previous set, and on the basis of that believed the factoid about joke replacement cycles.

I suspect that this is something that happens organically, as the comedian juggles the need for freshness with the need for well-honed material that can be relied upon to land well with an audience. Many jokes will come in and fall out again without making it past the tryout at a new material act; others may go on forever if they keep giving.

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