PipeChat Digest #4623 - Friday, July 16, 2004
 
Re: Hymn Intros, Text Painting, and stuff...
  by "Roger Brown" <roger2@rogerbrown.no-ip.org>
Re: Verses vs. stanzas
  by "bobelms" <bobelms@westnet.com.au>
Where's Waldo
  by "Keith Zimmerman" <kwzimmerman@alltel.net>
Re: Where's Waldo
  by "Mike Gettelman" <mike3247@earthlink.net>
RE: "New York Style" Hymn playing and organ design
  by "Henry Glass" <henry@melbay.com>
"Lights ... Cameras ... ACTION!!!"
  by "Charlie Lester" <crl@137.com>
Re: the Chant in English, cont.
  by "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net>
4000+ anticipated for James' 16th annual Silent Movie Night -  San Diego
  by <MUSCUR@aol.com>
Re: Playing during liturgical events
  by <RMB10@aol.com>
John Newton
  by "Charlie Lester" <crl@137.com>
Re: Playing during liturgical events
  by "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net>
Re: John Newton
  by "Randolph Runyon" <runyonr@muohio.edu>
Re: Playing during liturgical events
  by "Randolph Runyon" <runyonr@muohio.edu>
hymn playing and subtilty
  by "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net>
Re: Re: Playing during liturgical events
  by <reedstop@charter.net>
Website
  by "Travis L. Evans" <tlevans95@charter.net>
Who was taking about tonepainting?
  by "Alan Freed" <acfreed0904@earthlink.net>
 

(back) Subject: Re: Hymn Intros, Text Painting, and stuff... From: "Roger Brown" <roger2@rogerbrown.no-ip.org> Date: Fri, 16 Jul 2004 19:20:24 +1000   On Fri, 16 Jul 2004 05:37 pm, Harry Grove wrote:   > And, to reiterate an earlier question; why the reference to > Leg-Before-Wicket ?   Because of an earlier reference to LBW - it may mean Lutheran Book of = Worship in ONE country represented on this list but.......   -- Roger Brown robrown@melbpc.org.au roger2@rogerbrown.no-ip.org http://rogerbrown.no-ip.org  
(back) Subject: Re: Verses vs. stanzas From: "bobelms" <bobelms@westnet.com.au> Date: Fri, 16 Jul 2004 19:19:31 +0800   Well it is different where I am. I have only heard the word "stanza" used = in my time in matriculation and University English lectures. In the churches here the hymns have verses. Bob Elms.   ----- Original Message ----- From: "Glenda" <gksjd85@direcway.com> To: "'PipeChat'" <pipechat@pipechat.org> Sent: Friday, July 16, 2004 8:22 AM Subject: Verses vs. stanzas     > Thank you - we deep Southerners are vindicated. It's "verse" - if > someone in a Baptist church said "stanza" down here, the reply would be, > "No, we sit down for this one." > >    
(back) Subject: Where's Waldo From: "Keith Zimmerman" <kwzimmerman@alltel.net> Date: Fri, 16 Jul 2004 09:04:20 -0400   Chatters,   What's become of Bruce Cornely? I haven't seen a posting from him in a = looooooooong time. I miss his colorful postings. The last e-mail = address I have for him doesn't work. Is everything OK?   Thanks, Keith
(back) Subject: Re: Where's Waldo From: "Mike Gettelman" <mike3247@earthlink.net> Date: Fri, 16 Jul 2004 09:24:08 -0400   H Keith, Don't know what he's doing but his website is still active. http://members.tripod.com/Brucon502/index.htm )   Here is the contact address from the website. hydrant@baskerbeagles.com   Cheers Mike   Keith Zimmerman wrote:   > Chatters, What's become of Bruce Cornely? I haven't > seen a posting from him in a looooooooong time. I > miss his colorful postings. The last e-mail address > I have for him doesn't work. Is everything > OK? Thanks,Keith  
(back) Subject: RE: "New York Style" Hymn playing and organ design From: "Henry Glass" <henry@melbay.com> Date: Fri, 16 Jul 2004 11:28:20 -0500   The June Nixon Organ Miniatures are available from www.melbay.com. = Catalog number 98610. One of our best sellers!!   -----Original Message----- From: pipechat@pipechat.org [mailto:pipechat@pipechat.org]On Behalf Of Emily Adams Sent: Thursday, July 15, 2004 6:48 AM To: PipeChat Subject: "New York Style" Hymn playing and organ design    
(back) Subject: "Lights ... Cameras ... ACTION!!!" From: "Charlie Lester" <crl@137.com> Date: Fri, 16 Jul 2004 09:37:31 -0700   While I can't speak for anyone else, "Hollywood" has absolutely nothing to do with my "scene painting" at the organ console.   (Not, mind you, that there's anything wrong with a bit of theatre in church -- as "High Church Smells and Bells Anglicans" have known, and done, for centuries: What IS all that pomp and pageantry if it is not THEATRE? It most certainly is not the way Jesus "Had Church" -- he seemed to prefer sitting under a tree or standing in a boat. And I don't recall ever seeing any portraits of him bedecked in "High Liturgical Drag.")   What DOES have to do with my "scene painting" is a sensitivity to the music being sung and the text being read, and the way that artfully played improvisations can enhance both aspects of the service. To the extent that people often come up to me after services, tears streaming down their faces, telling me how moving a particular hymn or scripture reading was. Including, on many occasions, pastors.   Not too long ago, this past Lent in fact, a very senior pastor (nearing "four-score-and-ten" as he quaintly puts it) made a point of waiting for me after a Lenten service where I had done some quite-dramatic "scene painting" during the long gospel reading - the accounting of Judas' betrayal. The pastor clutched my hands in his, still very emotionally overcome, and said, "I have never - never - in all my years of preaching - been so profoundly moved by service music as I was tonight. THANK YOU for being such a blessed, anointed CHURCH MUSICIAN."   I wonder if I could ever be accorded a higher honor than that.   Granted, a bit of "Hollywood" may not be for everyone sitting in the pew or on the organ bench. Yes, "one man's red meat is another man's cholesterol," or however the clich=E9 goes. But I do think that the reason that many organists don't dare stray from the engraved page is because of fear, along with a dash of stubbornness: "I've never done that before, and I'm not about to start doing it now. And besides, I don't know how to improvise --- and I don't want to learn."   For myself, I can only say that the first time I tried "pushing down the gas pedal" and playing an improvised interlude and modulation leading to the thrilling last verse of "Great is thy Faithfulness" (among the greatest of all Protestant hymns), the sheer exhilaration of hearing the congregational singing swell and soar along with the organ convinced me that I had done a good thing.   Since that first audaciously brave foray into the "wild world of improvisation," most of my organ study has been devoted to congregational hymn and service accompaniment. I'm always seeking new, artistic, and inspiring ways to lead congregations in their musical and liturgical experiences. (Part of the deal is that I am right there with them, rather than peering down at them from "on high" -- and that's another pretty significant key, I do believe.)   We already have enough organists who can play "The Literature" and I have a very full CD rack to prove it (for better or worse). What we DO lack is organists who know how to sit at the organ and play "Amazing Grace" in such a way that people hearing it for the 10,000th time will not roll their eyes and heave their bosom in boredom [and get mired in the quicksand of endlessly debating its worthiness as a hymn since it was written by such a bad and evil man!!], but, instead, sing with uplifted heart and inspired soul as if they had never heard or sung the hymn before. With diligent study and practice -- and a bit of bravery -- that CAN be accomplished. And, no, you don't need lights, cameras, scenery or greasepaint to do it. But you DO need a little ... "ACTION" ,,,,,,,   -ooOoo-   Virgil Fox once said, in one of his engaging conversations with a concert audience -- I am paraphrasing here -- "Some people are content to sit in a hotel window and view the ocean from a distance. I, however, must run down to the shore and plunge myself into the water, to feel its bracing coldness and brute force against my body; to smell and taste the pungent saltiness; and to hear its sizzling roar as the waves roll and wash all around me."   So, excuse me while I grab my surf-board and head for Malibu --- er, that is, grab my hymnal and head for the console!     ~ ~~~ ~~~~~~~ Charlie Lester [turning over a new leaf and vowing henceforth to always sign my posts with my full name, lest someone mistake me for someone else....... HAHAHAHAHAHA!!!!]      
(back) Subject: Re: the Chant in English, cont. From: "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net> Date: Fri, 16 Jul 2004 10:43:56 -0700   Of course, we're talking about the ONE Sequence that ISN'T poetry ... Victimae paschali is technically a PROSE ... the OTHERS are rhymed poetry.   I agree that ANY translation is a COMPROMISE ... in the RC Church, one is (theoretically) free to sing the Latin original, even in liturgies where the prayers and readings are in Latin. Unfortunately, that option doesn't obtain in PRACTICE in most places.   It takes a generation or more to TEACH congregations the plainsong tunes to the Sequences, in Latin OR English ... one simply has to DO it, and KEEP doing it ... that's more likely to work in the Anglican Church, where rectors typically still stay for 20 years or more.   It took me six years to get the congregation at St. Matthew's to sing Victimae Paschali and Veni Sancte Spiritus to the plainsong ... we DID sing Lauda Sion to a modern tune, since we didn't sing ALL of it and deferred it to the Procession, rather than singing it DURING the Corpus Christi Mass; Stabat Mater was sung to a Sarum Office Hymn tune that has been in our hymnals for generations.   Sadly, Dies irae was no longer part of our funeral rites, though had I stayed, I would have lobbied for singing it on All Souls' Day ... the tolling of the trochees is just as powerful in Fr. Irons' translation as in the Latin original (The Hymnal 1940, #468).   Fr. Irons (a Church of England priest) made that translation after hearing the priests of the diocese of Paris sing their archbishop's Requiem ... he had been murdered at the storming of the Bastille.   There is a WONDERFULLY syrupy Victorian musical setting (by John Bacchus Dykes?) that used to appear in American hymnals, and in fact can be alternated with the plainsong (!) ... "Man for judgment must prepare him" is one of the great moments in Victorian church music (chuckle). I have it in the computer if anybody wants it ... I've yet to have the courage to PERFORM it (grin).   Cheers,   Bud   Alicia Zeilenga wrote:   > Bud- > > I think this is similar to what is in our books, but I find that it > lacks much of the poetic beauty of the Latin original. > > I have heard poetic translations of the sequences set to different - > usually familiar- tunes and I personally find this more appealing and > easier for congregational singing. Of course, then someone will argue > that it is not a literal translation or that the (apparently illiterate) =   > congregation won't understand the poetic words. > > Alicia Zeilenga > > > > -----Original Message----- > From: "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net> > To: PipeChat <pipechat@pipechat.org> > Date: Thu, 15 Jul 2004 16:40:16 -0700 > Subject: the Chant in English, cont. > > >>With respect, Alicia, the problem MAY be with some of the current RC >>"translations." I find nothing wrong with the following, which is the >>standard Anglican translation: >> >> >> >>Victimae paschali laudes >>Christians, to the Paschal Victim >> >>Immolent Christiani. >>Offer your thankful praises. >> >>Agnus redemit oves: >>A Lamb the sheep redeemeth: >> >>Christus innocens Patri >>Christ, who only is sinless >> >>Reconciliavit peccatores >>Reconcileth sinners to the Father. >> >>Mors et vita duello >>Death and life have contended >> >>conflixere mirando: >>in that combat supendous: >> >>dux vitae mortuus, regnat vivus. >>The Price of life, who died, reigns immortal. >> >>Dic nobis Maria, >>Speak, Mary, declaring >> >>Quem vidisti in via. >>what thou sawest, wayfaring. >> >>Sepulcrum Christi viventis, >>The tomb of Christ, who is living, >> >>et gloriam vidi resurgentis: >>the glory of Jesus' resurrection; >> >>Angelicos testes, >>Bright angels attesting, >> >>sudarium et vestes. >>the shroud and napkin resting. >> >>Surrexit Christus spes mea: >>Yea, Chris my hope is arisen: >> >>praecedet suos in Galilaeam. >>To Galilee he goes before you. >> >>Scimus Christum surrexisse >>Christ indeed from death is risen, >> >>a mortuis vere: >>our new life obtaining: >> >>tu nobis, victor Rex, miserere. >>Have mercy, victor King, ever reigning. >> >>Amen, alleluia. >> >> >> >>I became EXTREMELY frustrated when the RC church first changed to >>English ... they REFUSED (as a matter of PRINCIPLE, mind you) to look >>at >>ANYTHING the Anglicans had done since 1549 ... five hundred years' >>experience with the vernacular liturgy (AND the existence of the >>Graduale in ENGLISH for OVER a hundred years) was IGNORED because (as >>Cardinal Ratzinger so inelegantly put it later), the Anglicans were not >>an "authentic church" ... therefore everything from 1549 to 1964 was >>invalid in Rome's eyes. >> >>Rome could have learned a GREAT deal about vernacular liturgy from both >>the Anglicans AND the Lutherans ... but instead, the Sacred >>Congregation >>of Rites chose to re-invent the wheel. Forty years later, the end >>result >>is apparent. >> >>Cheers, >> >>Bud >> >> >> >> >>"Pipe Up and Be Heard!" >>PipeChat: A discussion List for pipe/digital organs & related topics >>HOMEPAGE : http://www.pipechat.org >>List: mailto:pipechat@pipechat.org >>Administration: mailto:admin@pipechat.org >>List-Subscribe: <mailto:pipechat-on@pipechat.org> >>List-Digest: <mailto:pipechat-digest@pipechat.org> >>List-Unsubscribe: <mailto:pipechat-off@pipechat.org> >> > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:pipechat@pipechat.org > Administration: mailto:admin@pipechat.org > List-Subscribe: <mailto:pipechat-on@pipechat.org> > List-Digest: <mailto:pipechat-digest@pipechat.org> > List-Unsubscribe: <mailto:pipechat-off@pipechat.org> > >      
(back) Subject: 4000+ anticipated for James' 16th annual Silent Movie Night - San Diego From: <MUSCUR@aol.com> Date: Fri, 16 Jul 2004 14:15:45 EDT   What's Playing at the Spreckels Organ Pavilion - Balboa Park - San Diego = This Weekend:   Sunday, July 18th - 2:00 p.m. to 3:00 p.m. - Dennis James, Theatre Organ Concert Monday, July 19th - 7:30 p.m. - Silent Movie Night with Dennis James.   Dennis James has been the organist for nearly every Silent Movie Night = since he debuted at this exceedingly popular annual outdoor event 16 years ago. =   With attendance now ranging between 4,000 and 6,000 each year, James' film =   performances have drawn the largest crowds in the entire history of the = Spreckels organ programs, matched only by the pavilion's opening in 1915 and Virgil = Fox's solo concerts in the 1970s. Join the thousands of enthusiastic regulars = who bring their picnic dinners and spread their blankets for a night of = outdoor films - Silents Under the Stars!   From THEATRE ORGAN JOURNAL: "In commenting on the art of silent film accompaniment, it should be pointed out that a proper performance involves = much more than 'chase' music, pratfall sound effects, or 'hamming it up' by = introducing familiar song title interludes designed to attract titters from the = audience. Considerable hard work is involved in terms of research, scoring, practice =   and timing in order to create a musical accompaniment which is both = appropriate and unobtrusive while enhancing both the action and the mood of what is = taking place on the screen . . . at the conclusion of this film a sophisticated audience loudly proclaimed that Dennis James had done his homework well, = resulting in a truly excellent job of silent film accompaniment."   ALL PROGRAMS AND PARKING ARE FREE! Spreckels Organ Society (619) 702-8138 - FAX (619) 702-8128 1549 El Prado, Suite 10, San Diego, CA 92101-1661   These organ events are sponsored by the City of San Diego Park and = Recreation Department and the Spreckels Organ Society. The Spreckels Organ Society is =   funded in part by grants from the San Diego Commission for Arts and = Culture and the San Diego County Community Enhancement Program, as well as by our ever-growing circle of members worldwide.   John D. Spreckels (1853-1926) - a man of many talents, interests and = skills, Spreckels' love affair with San Diego began with his arrival in 1887. He visualized a great city metropolis of art, culture and enterprise. San = Diego at that time was a sleepy little town of 15,000. In his mind, the soul of the = city should be in its heart- centrally located Balboa Park. His dream was = realized when the Panama-California Exposition was held in 1915. For this occasion = and for time forever- John Spreckels presented to the people of San Diego, = indeed to the people of all the world a noble, one of a kind, concert outdoor = pipe organ capable of playing the full range of musical masterworks. Intended = to uplift, enrich and inspire the human spirit through performances of great = music, the instrument's powerful voices could be heard from a distance of 3 = miles!   The Spreckels Organ Pavilion, now seating over 2,400 and located, in fact, = in the center of the metropolitan city. Futuristic for its time, the greatly ornamented main building containing the organ, meeting and dressing rooms, = is flanked by curved Grecian style colonnades illuminated by 1400 embedded = lights. At night the facility resembles a fantasy land of wonderment and awe. The = organ itself weighs nearly 100,000 pounds and is protected by a 20,000 pound = roll down steel door which seals the instrument from the outside elements when = not in use. Wind power for its 4,518 pipes is provided by a 20 HP blower = located in the basement. After 88 years, concerts on the Spreckels organ now attract record crowds, numbering over 100,000 per year. The voice of San Diego = continues to serve as the city's cultural center.   Listing sent from: Silent Film Concerts 7095 Hollywood Boulevard, #483 Hollywood, CA 90028-8903 USA Phone: 323-883-1514 E-mail: muscur@aol.com   To be deleted from this mailing list, please respond with e-mail request containing REMOVE in the subject heading and sent to muscur@aol.com  
(back) Subject: Re: Playing during liturgical events From: <RMB10@aol.com> Date: Fri, 16 Jul 2004 14:24:57 EDT   > I play during the pastoral prayer at the United Methodist Church I play = for in > Springfield, Missouri. It's the only time I can use the 8' Dolcan and Celeste > on the neo-baroque instrument--every other single stop eclipses them totally. > And, it's good practice for in-service improvisation, if you aren't used = to > doing it.   Maybe it's a "Baptist" or "evangelical" thing, (yeah, yeah, I know it's politically incorrect around here to put denominational labels on things = we do) but in my tradition, and in most of the churches I've played in, underscoring = the prayers (providing "mood" music) is expected and is the norm. Currently = at my church, the organ plays for probably the first 45 or 50 minutes of the service pretty much uniterrupted until the sermon begins, then picks back = up, at the end of the sermon and doesn't quit until the end of the postlude. The = PIPE organ is the glue that holds the service together. The improvised = interludes, underscores, and filler "slush" that transition one event to another and = tie one theme to another while changing keys from whatever key the prelude was = in, to whatever key the opening hymn is in, to whatever key the anthem is in, etc., weaving bits and pieces of melodic themes of those works and also = maybe a line or two of a hymn that might tie in to a theme that goes a long with = the Intercessory Prayer. At Friendship, the organ plays the prelude, then underscores the Invocation, transitions into the Opening Hymn, plays "mood = music" during the Scripture reading (scoff if you will--but it's effective...we = love us some Erzahlers!), underscores the Intercessory Prayer, accompanies the = Prayer Chant (White churches call it a choral response LOL), fills in the gaps = while latecomers are seated, covers the ushers coming forward to line up for the =   offering, transitions into the offertory Anthem...You get the drift. The only time the organ is silent is during the sermon, which our Senior Pastor requests, since he doesn't like the wailing away of the organ = "talking back" the the preacher, since he thinks it distracts the people. Yes, if = you are wondering, I can (as a White man) make a Hammond wail away, but I only do = that on Gospel numbers. At the end of the sermon, as the Pastor transitions = into the Invitation, the soft celestes come on and and segue into the = Invitation Hymn and build as the Altar Call progresses and the choir leads the = congregation in singing the hymn from there the organ plays under the Benediction, = Choral Amen, and laucnehs into the Postlude. So, we are full of drama. Call it Liberace-esque, but I can't wait until the new organ and new church are = built so I can really do it up, and use the Celestial Division stops that will be mounted high up in the ceiling wafting down--celestes at 16, 8, 4 and with = Vox and Trem will bring them all to Jesus. As Fred Swann says, "strings and voxes = have saved more souls than all the mixtures in captivity!" LOLOLOL   Going to look for my protective flame suit now.....   Monty Bennett Friendship Baptist Church Charlotte, NC  
(back) Subject: John Newton From: "Charlie Lester" <crl@137.com> Date: Fri, 16 Jul 2004 11:38:50 -0700   A brief postscript about the John Newton / "Amazing Grace" discussion that I was mulling over just now.   I don't indict anyone for their comments about John Newton. He was what he was.   It's interesting, though, how THAT HYMN has far outlived its author in terms of infamy and, certainly, belovedness.   Newton's deeds have largely been forgotten (except when dredged up again); but "God worked in a mysterious way" and used this "mortal man" for something great. How many other hymns can you name that are as widely known, widely sung, and widely cherished, as "Amazing Grace?"   Sometimes, beautiful flowers do grow amidst thorns. And weeds.     ~ ~~~ ~~~~~~~ Charlie Lester        
(back) Subject: Re: Playing during liturgical events From: "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net> Date: Fri, 16 Jul 2004 11:44:30 -0700     If you want to hear some REAL evangelical service-playing, listen to an African-American organist on a B-3 underscore EVERY SINGLE POINT of a SERMON ... it's AMAZING what they do, and WITHOUT the sermon text in front of them.   Cheers,   Bud        
(back) Subject: Re: John Newton From: "Randolph Runyon" <runyonr@muohio.edu> Date: Fri, 16 Jul 2004 14:50:02 -0400   Then there's the sacred music of Carlo Gesualdo, a really bad dude. See http://www.btinternet.com/~rubberneck/gesualdo.html if you're unfamiliar with the story. Nobody's perfect.     Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu       on 7/16/04 2:38 PM, Charlie Lester at crl@137.com wrote:     > > Sometimes, beautiful flowers do grow amidst thorns. And weeds.    
(back) Subject: Re: Playing during liturgical events From: "Randolph Runyon" <runyonr@muohio.edu> Date: Fri, 16 Jul 2004 14:51:14 -0400   on 7/16/04 2:44 PM, Raymond H. Clark, Quilisma Publications at quilisma@cox.net wrote:   > > If you want to hear some REAL evangelical service-playing, listen to an > African-American organist on a B-3 underscore EVERY SINGLE POINT of a > SERMON ... it's AMAZING what they do, and WITHOUT the sermon text in > front of them. > > Cheers, > > Bud > > It's the same wonderful skill that movie-theater pianists and organists = put to such brilliant use in the age of silent cinema.     Randy Runyon Music Director Zion Lutheran Church Hamilton, Ohio runyonr@muohio.edu      
(back) Subject: hymn playing and subtilty From: "Raymond H. Clark, Quilisma Publications" <quilisma@cox.net> Date: Fri, 16 Jul 2004 11:54:48 -0700   I once heard the late Paul Calloway tone-paint EVERY PHRASE of EVERY VERSE of "O Sacred Head", but it was so subtle that one was BARELY aware of it.   English cathedral organists excel at descants and counter-melodies and registration changes to illustrate the verses of the Psalter ("throw on the Swell reeds when the heathen do something naughty"), but I never quite mastered that ... comes of doing it every DAY, I guess ... I was content to keep the choir together and put on the reeds for the Gloria Patri (chuckle).   The "school" for the grand old Anglican style of hymn-playing is, of course, T. Tertius Noble's "100 Free Hymn Accompaniments" and "50 Free Hymn Accompaniments", and the accompaniments of Bairstow, Willan (sadly mostly out of print now), Thiman, and Thalben-Ball, as well as "The Blue Book" from Royal School of Church Music (forget the title).   It's too bad more of the great Anglican service-players of previous generations didn't write down their superb improvisations of hymn accompaniments, but it was EXPECTED that one COULD improvise them "off the cuff."   Of living organists, I remember in particular one of Neil Robinson's improvs on the festal "Jesu dulcis memoria" tune at Smoky Mary's ... when we came round to sing the final verse, it nearly took the roof off the church.   Cheers,   Bud      
(back) Subject: Re: Re: Playing during liturgical events From: <reedstop@charter.net> Date: Fri, 16 Jul 2004 19:34:32 +0000     > >The PIPE organ is the glue that holds the service together.   <shaking head> Monty, Monty, Monty...why? :)   Jeff    
(back) Subject: Website From: "Travis L. Evans" <tlevans95@charter.net> Date: Fri, 16 Jul 2004 15:59:19 -0500   Well I had intended to update my little webpage much more often than I = have. Well I finally did add a new feature today. Its a video clip of = yours truly playing our Allen R350 combo organ. Unfortunatly the = balcony is so small all you get is this side shot. As always I hope to = do more of these and get some with a better angle. This will have to do = for now. Have a look. Its on the "About the Organ" page.   Travis   http://webpages.charter.net/tlevans95/  
(back) Subject: Who was taking about tonepainting? From: "Alan Freed" <acfreed0904@earthlink.net> Date: Fri, 16 Jul 2004 17:08:39 -0400   A quote I just ran across in the Italian renaissance madrigal context:   breaking up the metrical flow of the text into disparate musical events, triggered by particular words or phrases that invite abrupt changes in = mood, tempo or dynamics. Phrases like "my soul takes flight" and "I am alive" bring an excitable flurry of semiquavers, whereas a key word like "pain" = is sufficient to commence a sequence of dark and anguished chromatic progressions. It's this pervasive sense of restlessness and = unpredictability which, when allied to a highly inventive use of chromatic details and dissonances   Alan