PipeChat Digest #2504 - Sunday, November 18, 2001
 
Re: voicing of a 4' Clarion
  by <Cremona502@cs.com>
Re: voicing of a 4' Clarion
  by <Cremona502@cs.com>
Fisk Opus 119, First Presbyterian Church.. Gainesville FL
  by <Cremona502@cs.com>
Evensong last night (X-posted)
  by <quilisma@socal.rr.com>
The Correct Joseph Clokey Dates
  by "Karl Moyer" <kmoyer@marauder.millersville.edu>
Trinity 23 - St. Matthew's ACC, Costa Mesa CA (X-posted)
  by <quilisma@socal.rr.com>
Working with People who know it all...
  by <Oboe32@aol.com>
Re: Working with People who know it all...
  by <Myosotis51@aol.com>
Re: Working with People who know it all...
  by <Cremona502@cs.com>
RE: Working with People who know it all...
  by "Jeff White" <reedstop@prodigy.net>
Re: Working with People who know it all...
  by <quilisma@socal.rr.com>
Re: Working with People who know it all...
  by "Dennis Goward" <dlgoward@qwest.net>
working with people who know it all
  by "Gary Black" <gblack@ocslink.com>
 

(back) Subject: Re: voicing of a 4' Clarion From: <Cremona502@cs.com> Date: Sat, 17 Nov 2001 06:17:28 EST     --part1_f9.12bd48e3.2927a148_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 11/16/01 8:11:25 PM Eastern Standard Time, hdrogemuller@sympatico.ca writes:     > My question is,should the 4' Clarion be voiced on top of the 8' and = 16' > trumpet to create a seamless increase in pitch or should it have enough =   > prominence to create > what I would call a distinctive "jump" in the sound when it is drawn? > My preference is to have the Clarion slightly smaller than the Trumpet so that it works in a way similar to the 4' Octave in the principal chorus, adding brightness without significantly increasing the volume of the = chorus. This also gives you a secondary solo Trumpet stop which can be very = useful. If the Clarion is going to be as big as the Trumpet, I'd rather have another stop and just use the 4' coupler!     Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls   --part1_f9.12bd48e3.2927a148_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 11/16/01 8:11:25 PM Eastern Standard Time, hdrogemuller@sympatico.ca = writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">My question = is,should the 4' Clarion &nbsp;be voiced &nbsp;on top of the 8' and 16' = trumpet &nbsp;to create a seamless increase in pitch or should it have = enough prominence to create <BR>what I would call a distinctive "jump" in the sound when it is drawn? <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">My preference is to have the Clarion slightly = smaller than the Trumpet so that it works in a way similar to the 4' = Octave in the principal chorus, adding brightness without significantly = increasing the volume of the chorus. &nbsp;&nbsp;This also gives you a = secondary solo Trumpet stop which can be very useful. &nbsp;&nbsp;&nbsp;If = the Clarion is going to be as big as the Trumpet, I'd rather have another = stop and just use the 4' coupler! <BR> <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls</FONT></HTML>   --part1_f9.12bd48e3.2927a148_boundary--  
(back) Subject: Re: voicing of a 4' Clarion From: <Cremona502@cs.com> Date: Sat, 17 Nov 2001 06:29:05 EST     --part1_90.1d032464.2927a401_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 11/16/01 9:02:55 PM Eastern Standard Time, RonSeverin@aol.com writes:     > The mixture Plein Jeu supplies the mix and fire > especially on an Aeolian Skinner conceived Swell. The mixture > scaled and voiced to perfection makes a big difference.   A very good point. When funds require choices, I think a 4' Principal and/or mixture can provide sufficient top for the reed chorus, and greater =   versatility for the Swell.   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls   --part1_90.1d032464.2927a401_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 11/16/01 9:02:55 PM Eastern Standard Time, RonSeverin@aol.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The mixture Plein = Jeu supplies the mix and fire <BR>especially on an Aeolian Skinner conceived Swell. The mixture <BR>scaled and voiced to perfection makes a big difference. </FONT><FONT = COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=3D"Arial" = LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>A very good point. &nbsp;&nbsp;When funds require choices, I think a = 4' Principal and/or mixture can provide sufficient top for the reed = chorus, and greater versatility for the Swell. <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls</FONT></HTML>   --part1_90.1d032464.2927a401_boundary--  
(back) Subject: Fisk Opus 119, First Presbyterian Church.. Gainesville FL From: <Cremona502@cs.com> Date: Sat, 17 Nov 2001 06:37:40 EST     --part1_7c.1eabaf63.2927a604_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   Alas, I never did get my camera on speaking terms with my computer! However, First Presbyterian Church, Gainesville, has wonderful photographs = of the arrival and installation of the new Fisk, opus 119. They may be seen = at > <A HREF=3D"http://www.1stpc.org/">www.1stpc.org</A> . > I have only heard ONE stop, in "factory tuned" condition, and it was quite =   lovely. It was the Swell "flute" and it filled the room comfortably and = was full and rich. I can't wait to hear the rest. Gainesville AGO has a = "tour" on 1 December. The church hopes to be using the organ by 2 December, although installation will still probably be incomplete. But what the = heck, they will have more than the 9rk Hinners loaner!! ;-)   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls   --part1_7c.1eabaf63.2927a604_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">Alas, &nbsp;I never did get my camera on = speaking terms with my computer! &nbsp;&nbsp;However, First Presbyterian = Church, Gainesville, has wonderful photographs of the arrival and = installation of the new Fisk, opus 119. &nbsp;&nbsp;They may be seen at = &nbsp;</FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SERIF" = FACE=3D"Georgia" LANG=3D"0"><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: = #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: = 5px">&nbsp;<A HREF=3D"http://www.1stpc.org/">www.1stpc.org</A> &nbsp;. <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SERIF" = FACE=3D"Georgia" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">I have only heard ONE stop, in "factory tuned" = condition, and it was quite lovely. &nbsp;It was the Swell "flute" and it = filled the room comfortably and was full and rich. &nbsp;I can't wait to = hear the rest. &nbsp;&nbsp;Gainesville AGO has a "tour" on 1 December. = &nbsp;&nbsp;The church hopes to be using the organ by 2 December, although = installation will still probably be incomplete. &nbsp;But what the heck, = they will have more than the 9rk Hinners loaner!! &nbsp;;-) <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls</FONT></HTML>   --part1_7c.1eabaf63.2927a604_boundary--  
(back) Subject: Evensong last night (X-posted) From: <quilisma@socal.rr.com> Date: Sat, 17 Nov 2001 10:14:35 -0800   We had a hundred people at Evensong last night ... we expected about fifty ... we TOTALLY ran out of service-booklets and music inserts, and they STILL sang up a storm, WITHOUT a choir. I SWEAR it's genetic memory, like Lutherans and Bach chorales (grin).   Preces and Suffrages - ferial Psalm 37 - Tone 8, Gregorian (chanter vs. congregation) Magnificat - Anglican Chant - Barnby in D Nunc Dimittis - Anglican Chant - Dupius in g minor Hymns Shall We Not Love Thee, Mother Dear? - Land of Rest Maker of Man, Who From Thy Throne - Mechlin "O Salutaris" tune (Office Hymn, Friday Evenings in Trinitytide) Turn Your Eyes Upon Jesus - Lemmel   They REALLY whooped it up on "Shall We Not Love Thee" (grin) ... guess I can add that to the repertoire, since the Archbishop REQUESTED it. He was singing it at the top of his lungs (DIRECTLY behind the RECTOR) when the procession passed the organ console. (chuckle)   I chose "Land of Rest" rather than one of the traditional tunes ... the only other one of THOSE they knew was "St. Agnes", and the Rector would have put his foot down at that point. He cannot ABIDE "St. Agnes" ... I put up with it once a year, unless I manage to "forget" (grin).   The Archbishop gave an EXCELLENT conference on Evelyn Waugh and Contemplative Prayer. He used "Turn Your Eyes Upon Jesus" during it to illustrate a point about silencing the clamor of the world. His musical taste is catholic, to say the LEAST (grin). In THAT context, it worked BEAUTIFULLY.   I didn't stay for the dinner afterwards ... it was just too CROWDED.   Cheers,   Bud        
(back) Subject: The Correct Joseph Clokey Dates From: "Karl Moyer" <kmoyer@marauder.millersville.edu> Date: Sat, 17 Nov 2001 17:05:02 -0500   Dear Y'all,   First, my warm thanks to all who tried to help with my inquiry about Joseph Clokey. I now know far more than I ever did, and for all of you who helped, I'm most grateful.   Seems that wed did get just enough dis-information to justify a clarification: I am now satisfied that Joseph Clokey died 14 Nov 1960, a= t Covina CA, *not* in 1957 as reported in the AGO publication _The Organist's Book of Days_ -- get out your copy and make the correction!! =8B nor in 1961 as reported in _Contemporary American Composers: a Biographical Dictionary_. =20   While my purpose was information preparatory to writing a comment to my choir about "A Canticle Of Peace," I now also have my copies of two Clokey organ works on my to-play pile:   1. Bell Prelude (H. W. Gray, 1943, thus during W. W. II), dedicated to Clarence Mader, David Craighead's teacher in California-- and teacher of lots of other fine organists, too.   2. Catedral Prelude (J. Fischer & Bro, 1936, dedicated to Dudley Warner Fitch. (Who is/was he?)   The latter is my choice as an Advent season prelude the day we sing this anthem.=20   Blessed are ye who have helped. Danke sch=F6n.  
(back) Subject: Trinity 23 - St. Matthew's ACC, Costa Mesa CA (X-posted) From: <quilisma@socal.rr.com> Date: Sat, 17 Nov 2001 18:31:22 -0800   Pontifical (Semi) High Mass and Confirmation - 9 a.m.   Voluntary - who knows? I'll probably be running around crazy until the last minute (grin) I'll probably improvise on the Chant "Veni Creator" Processional - O Come, Creator Spirit Come - St. Patrick (!) - yeah, well, they'll SING *that* (grin) Setting - Willan/Scottish Chant Anthem - Go Forth With God - M. Shaw Communion - Victim Divine, Thy Grace We Claim - Farmborough (at the Archbishop's request) we learned it for him last year Orison - My Country, 'Tis of Thee (verse 4) - America Recessional - A Mighty Fortress Is Our God - Ein feste Burg Voluntary - Improvisation on "Ein feste Burg"   No "Confirma hoc" this year (sigh) ... I forgot to drag it out.   Cheers,   Bud    
(back) Subject: Working with People who know it all... From: <Oboe32@aol.com> Date: Sat, 17 Nov 2001 23:06:10 EST   Hey All, Thanksgiving Break is HERE! We have been so stressed at = Westminster. This has been such a hard and long semester. This week off is well = deserved and needed. At any rate, I was at church all day today, as I spend many of my Saturdays, just working, planting some bulbs, practicing, cleaning, and planning. As things would have it, one of my younger choir members stopped =   by. He is a musician of many years, being quite competent on the clarinet = and sax. He has a strong interest in the organ and improvisation and = frequently "suggests" things I could do to improve my improvisatory skills. Today he asked to speak with me and not only proceeded to comment on my = registrations (suggesting that I almost never take the sfz off), my improvisations, how = I rehearse the choir, and my hymn playing. In a choir of 12, all members are =   valued highly, as is what they say and think, but this was out of line in = my view. He critiqued how I prepare the breath, my accompanying, my tempi, my =   registrations for accompaniment and otherwise, and my preparedness of the music. I handled the situation very diplomatically, saying that I would = think about what he had to say, but he must consider where the music was before = I came to the church, where it is now, and the many advances that have = happened since Pentecost. Anyone have any suggestions? My rector is behind me 110%, but I still would like to have a happy and full choir!   -Pete  
(back) Subject: Re: Working with People who know it all... From: <Myosotis51@aol.com> Date: Sun, 18 Nov 2001 00:07:27 EST   Oboe32@aol.com wrote:   > =A0 Anyone have any suggestions? My rector is behind me 110%, but I still > would like to have a happy and full choir!   Get the following T-shirt:   "Those who THINK you know everything are very annoying to those of us who do= .."   Wear it next Saturday. It probably won't register with him, but YOU will=20 feel better.   Otherwise, assume that it made him happy to whine. Are the other choir=20 members appreciative?   Vicki Ceruti  
(back) Subject: Re: Working with People who know it all... From: <Cremona502@cs.com> Date: Sun, 18 Nov 2001 00:17:20 EST     --part1_146.4c4cb3b.29289e60_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 11/17/01 11:07:05 PM Eastern Standard Time, = Oboe32@aol.com writes:     > <Today he asked to speak with me and not only proceeded to comment on my =   > registrations (suggesting that I almost never take the sfz off), my > improvisations, how I rehearse the choir, and my hymn playing. In a = choir > of 12, all members are > valued highly, as is what they say and think, but this was out of line = in > my > view. He critiqued how I prepare the breath, my accompanying, my tempi, = my > registrations for accompaniment and otherwise, and my preparedness of = the > music.>   Pete, First of all (and I know you don't want to hear this), you're young and = just getting started (in the grand scheme of things). I have learned that = even people who don't know much can teach me something. Somewhere there is almost always a grain of truth. Consider the person's perception. The =   first time a bell went off was when you mentioned that he said you "almost =   never take the sfz off". It may be over-stated, but there is a grain of =   truth to which you must listen. People tire of loud music very quickly. =   You may not perceive this a correct, but your listeners often do. With regard to rehearsal techniques, again, it is important to listen to this feedback. I have tried very hard over the years not to talk too much in rehearsals, and have been criticized from both sides. As a chorister, I would rather the director err of the side of not talking enough... I go = to choir rehearsal to SING not listen to endless instructions. And, by the way, nothing irritates me more (not even too much talking!) than a = director who stops EVERY TIME a mistake is made. I makes me feel very insecure, always wondering when I'm going to go for a difficult note and wind up singing it by myself because the director stopped us and I was a note late =   stopping.   I would suggest taking the criticism positively, maybe even asking for clarification and, possibly, at a later time asking for "review" by that person.   < I handled the situation very diplomatically, saying that I would think > about what he had to say, but he must consider where the music was = before I > came to the church, where it is now, and the many advances that have > happened > since Pentecost. > I think you handled it "half-right." Saying you would think about his criticisms was the right thing to do (actually doing it is also good). =   Telling someone how much better things are "now than before" is not good, since it is critical of your predecessor. This should not be done, no matter how awful it was. If people cannot recognize your ability or = the improvements you have made, pointing them out will not help and, in many cases, will have the opposite effect.   My advice...... take advantage of this person's interest and willingness = to "help." If you discuss some of these things with him you may find that = you are teaching him at the same time you are providing the positive attention =   that he probably needs.   Good luck.   Bruce Cornely ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Duncan, Miles, Molly, and Dewi Please visit Howling Acres at http://members.tripod.com/Brucon502/ and wander through the Mall Without Walls   --part1_146.4c4cb3b.29289e60_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 11/17/01 11:07:05 PM Eastern Standard Time, Oboe32@aol.com writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">&lt;Today he asked = to speak with me and not only proceeded to comment on my registrations = (suggesting that I almost never take the sfz off), my improvisations, how = I rehearse the choir, and my hymn playing. In a choir of 12, all members are <BR>valued highly, as is what they say and think, but this was out of line = in my <BR>view. He critiqued how I prepare the breath, my accompanying, my = tempi, my <BR>registrations for accompaniment and otherwise, and my preparedness of = the <BR>music.&gt;</FONT><FONT COLOR=3D"#000000" SIZE=3D3 = FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR> <BR>Pete, <BR>First of all (and I know you don't want to hear this), you're young = and just getting started (in the grand scheme of things). = &nbsp;&nbsp;&nbsp;I have learned that even people who don't know much can = teach me something. &nbsp;&nbsp;Somewhere there is almost always a grain = of truth. &nbsp;&nbsp;&nbsp;Consider the person's perception. = &nbsp;&nbsp;The first time a bell went off was when you mentioned that he = said you "almost never take the sfz off". &nbsp;&nbsp;&nbsp;It may be = over-stated, but there is a grain of truth to which you must listen. = &nbsp;&nbsp;People tire of loud music very quickly. &nbsp;You may not = perceive this a correct, but your listeners often do. &nbsp;With regard to = rehearsal techniques, again, it is important to listen to this feedback. = &nbsp;I have tried very hard over the years not to talk too much in = rehearsals, and have been criticized from both sides. &nbsp;&nbsp;As a = chorister, I would rather the director err of the side of not talking = enough... &nbsp;I go <BR> <BR>I would suggest taking the criticism positively, maybe even asking for = clarification and, possibly, at a later time asking for "review" by that = person. <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>&lt; I handled the situation very diplomatically, saying that I would = think </FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: = #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: = 5px">about what he had to say, but he must consider where the music was = before I <BR>came to the church, where it is now, and the many advances that have = happened <BR>since Pentecost. <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D3 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0">I think you handled it "half-right." = &nbsp;&nbsp;&nbsp;Saying you would think about his criticisms was the = right thing to do (actually doing it is also good). = &nbsp;&nbsp;&nbsp;&nbsp;Telling someone how much better things are "now = than before" is not good, since it is critical of your predecessor. = &nbsp;&nbsp;This should not be done, no matter how awful it was. = &nbsp;&nbsp;&nbsp;&nbsp;If people cannot recognize your ability or the = improvements you have made, pointing them out will not help and, in many = cases, will have the opposite effect. <BR> <BR>My advice...... take advantage of this person's interest and = willingness to "help." &nbsp;If you discuss some of these things with him = you may find that you are teaching him at the same time you are providing = the positive attention that he probably needs. <BR> <BR>Good luck. <BR> <BR>Bruce Cornely &nbsp;&nbsp;&nbsp;&nbsp;~ &nbsp;Cremona502@cs.com &nbsp; <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR> &nbsp;&nbsp;&nbsp;&nbsp;Duncan, Miles, Molly, and Dewi <BR>Please visit Howling Acres at = &nbsp;&nbsp;http://members.tripod.com/Brucon502/ <BR> &nbsp;&nbsp;and wander through the Mall Without Walls</FONT></HTML>   --part1_146.4c4cb3b.29289e60_boundary--  
(back) Subject: RE: Working with People who know it all... From: "Jeff White" <reedstop@prodigy.net> Date: Sat, 17 Nov 2001 23:25:07 -0600   Pete said (snipped up):   one of my younger choir members stopped by... He is a musician of many years, being quite competent on the clarinet and sax. He has a strong interest in the organ and improvisation and frequently "suggests" things I could do to improve my improvisatory skills....(and other things)... I handled the situation very diplomatically, saying that = I would think about what he had to say, but he must consider where the music was before I came to the church, where it is now, and the many advances = that have happened since Pentecost.   I reply:   Pete, you did the right thing by being diplomatic, first of all. However, his "interest" in the organ indicates lack of experience. My thought = would be that if 1) the minister is happy, and 2) the boards are happy, and 3) = the congregation is happy.........one choir member being unhappy is hardly = worth changing the way you're doing things. Keeping a happy choir is good, but like Spock said, "the needs of the many outweigh the needs of the few, or the one." Now, if it were the opposite, and everyone was unhappy EXCEPT this one lone character, then we'd see a need for change. ;-)   Jeff    
(back) Subject: Re: Working with People who know it all... From: <quilisma@socal.rr.com> Date: Sat, 17 Nov 2001 21:41:27 -0800   Bruce is right ... write it down in your Kalendars, folks (grin).   There may be some other factors at work here: I once played in a church where a member of the Board had MS ... he was confined to a wheelchair. Even though he was parked close to a bank of FLUTE speakers, he constantly complained that the organ was too loud. Two things: from where he was sitting, it WAS; and the MS also affected his hearing, particularly of high pitches.   Have you gone out into the church and listened while someone else played, using your combinations? Our former chapel was SO dead that I eventually discovered to my HORROR that one of the Leslies was set full open ... I had no IDEA from the console. But it was DEAFENING in the other corner of the church.   MOST people don't like loud organ music at ALL, for good or for ill. YOU may perceive that it's your job to LEAD the hymns, but I'll bet MOST of the congregation THINKS it's your job to ACCOMPANY them. Now, how you accomplish that with a mezzo registration and keep them TOGETHER, I don't know ... I can get away with it because I have a very strong CHOIR.   I KNOW better than to "let fly" where we are now ... we have an 8' acoustical ceiling ... I'd deafen MYSELF and the back quarter of the church; the rest wouldn't notice anything. So I play loud enough that I can hear the choir over the organ, and pray that the congregation stays with us.   SOMETIMES it's the QUALITY of the sound, rather than the QUANTITY that they're complaining about. Hearing aids don't LIKE mixtures (grin).   SOMETIMES it's just plain cussedness (grin). I have this one old dude who complains regularly and loudly about the organ. Now, one Sunday the organ wouldn't WORK, so I played the very modest spinet piano that we keep in the church for such emergencies. We're in the back, BTW.   You know where this is going, don't you? (grin)   Sure enough, he came back and complained about the organ being too loud.   "But DON, the organ didn't WORK this morning; I played the PIANO."   "Well, THAT was too loud TOO."   And he stalked off.   Come to find out, he's about 75% deaf and can't hear much of ANYTHING (chuckle).   I ALWAYS listen politely; if I CAN explain something, I DO; if I can't (like with Don), I just nod politely.   Cheers,   Bud            
(back) Subject: Re: Working with People who know it all... From: "Dennis Goward" <dlgoward@qwest.net> Date: Sat, 17 Nov 2001 22:39:55 -0700   > Pete said (snipped up): > > one of my younger choir members stopped by... He is a musician of many > years, being quite competent on the clarinet and sax. He has a strong > interest in the organ and improvisation and frequently > "suggests" things I could do to improve my improvisatory skills....(and > other things)...   I have to admit, both Jeff and Bruce have had excellent comments on this incident. From my own experience, I would add that it may be good to try = to ascertain where this individual is coming from.   I had a fellow in a previous post who tried the same thing, but his "bag" was control -- he was trying to assert his personal control over me, just = as he did virtually every other facet of the parish. (He was an elder, chairman of that board, and former president). It ultimately led to a = power fight that wound up being decided in a voters assembly in my favor, but = the end result was not good for the church.   If this fellow is sincerely interested in offering sound help, fine. But otherwise, you may do well to watch your back.   Paranoically yours, Dennis    
(back) Subject: working with people who know it all From: "Gary Black" <gblack@ocslink.com> Date: Wed, 14 Nov 2001 23:16:26 -0600   Hi, Here is my two cents worth. I had the same problem once. We have a 5 rank unit Wicks and this old buzzard of a lady told me that i play the organ too loud(ly. The room is so dry it is like being in the desert. She complained to me that she couldn't hear the pastor do the prayers because i was playing too loud(ly). (He wanted background music for this). I had the box closed and the dulciana and 16' ped bourdon going. I could hardly hear it. I told her to either move in closer to where he was or to turn your hearing ad up. She was not amused. Oh well. I am no longer playing there because of what the UMC is doing to the music. Another story. Stick to your guns. Gary