PipeChat Digest #533 - Saturday, September 26, 1998
Practice - Part 3
  by "Charles Brown" <clmoney@cybernex.net>
Re: Artisan Band Box
  by " JACK   MOELMANN" <RJGP84A@prodigy.com>
Re: ReedDoc, R.I.P.
  by "Sean Haley" <newgershwin@hotmail.com>

(back) Subject: Practice - Part 3 From: "Charles Brown" <clmoney@cybernex.net> Date: Fri, 25 Sep 1998 07:16:43 -0400   Hello!!   Sorry about the delay in getting this out. I was out of town for a master class and got home with a bad bought of the flu.   Thank you for all the positive remarks and feedback.   Today I want to discuss articulation. This is going to be a tough one to do on the internet.   I have rarely come across a topic so mis-taught as legato vs. stacatto. Sadly, the adherence to a misunderstood legato technique usually results in performances where any sense of structure is lost and most is reduced to an incoherent cacophony of sound.   Let us start by playing a simple C-major scale. Only this time, just use the second or third finger of each hand. Try, within this parameter, to play it smoothly. The result will be something that is not quite a pure legato but also not a pure stacatto. This sound is what I would call articulated.   Between the concepts of legato and stacatto there are an infinite number of points or spaces one can put between the notes. It is within that concept we will work.   When one is slow practicing, and a line is moving from point A to point B, put a slight spacing between the notes. If multiple lines are moving, lift all the moving notes at precisely the same time and attack the next notes at precisely the same time. DO NOT, AT THIS POINT, PLAY WITH A PURE LEGATO!!!   At this point I can hear the gasping and people passing out from shock. I know this runs counter to any organ teaching today. But, in my experience, as tempo starts to build with the increasing speed of the metronome, a natural legato will develope on its own while still retaining a sense of structure,rhythm, and integrity.   In many instances, the acoustics of the church or concert hall will fill in the slight gaps also. If you are at a phrasing point you make the distance a bit larger between notes and should the score call for a legato, larger still.   This will require your using your ear. In many ways, this is also a good technique to rehearse your choir with for a nicely articulated sound. As an organist this practice technique will also have the extra added benefit of sharper cutoffs and attacks of notes.   Be careful, when I talk about this spacing, I am not encouraging sloppy fingering. In my next part, I am going to discuss fingering and pedaling.   Dr. Charles Brown clmoney@cybernex.net    
(back) Subject: Re: Artisan Band Box From: RJGP84A@prodigy.com ( JACK MOELMANN) Date: Fri, 25 Sep 1998 12:01:18, -0500     Years ago, the Artisan Organ Company (California I believe) had for sale a "Band Box" which was a collection of electrically operated (as opposed to air driven) percussions such as cymbals, tambourine, castenets, wood block, etc for use on their electronic organs or any other organ for that matter. The percussions were built into a box which was about the size of a small refrigerator laying on its side (now how is that for a description of size?). I rebuilt one for a friend back in the early '70s. It was an interesting device, easy to connect, simple to maintain, and even sounded good in one's home. Anyway, a friend of mine is looking for one. If you have one or know of where I might find one, please e-mail me privately. .   Jack Moelmann RJGP84A@prodigy.com  
(back) Subject: Re: ReedDoc, R.I.P. From: "Sean Haley" <newgershwin@hotmail.com> Date: Fri, 25 Sep 1998 21:19:25 PDT   Hi list...   It is with a heavy heart that I write this. Dr. Ed Peterson was a wonderful person. I had the privilege of spending many a late night chatting with him on pipechat IRC. ReedDoc (his IRC nickname) always livened things up with his witty and remarkable sense of humor. He was a kind and dear friend that I won't soon forget. I can say with certainty that his shoes will never be completely filled by another. I will miss his wisdom, gentle spirit, and definitely his humor. As I continue to learn and grow in the organ and music world I will always remember what he has taught me. We'll miss you Doc, _____ | | Sean M. Haley / NWOrganer | | Organist,Pianist,Composer,Piano Tech. () ()..<newgershwin@hotmail.com>...........() () .............................................| | .............................................|___|     ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com