Since I first heard about Movember a few years ago I have felt duty-bound to take part – and guilty that I never quite found the nerve. Well, this year is the year!
The Movember Effect: Awareness & Education, Survivorship, Research
The funds raised in the UK support the number one and two male specific cancers – prostate and testicular cancer. The funds raised are directed to programmes run directly by Movember and our men’s health partners, The Prostate Cancer Charity and the Institute of Cancer Research. Together, these channels work together to ensure that Movember funds are supporting a broad range of innovative, world-class programmes in line with our strategic goals in the areas of awareness and education, survivorship and research.
The official rules of Movember:
You can learn more about Movember here.
I may have bent rule #4 slightly at the start of the month, but my mo is growing strong now! Visit my profile, where you can see in-progress pics, and donate to me or my Movember team: (more…)
This is part two in a series of posts on music in the Catholic Church. Part One covered my background and experience of Church music growing up.
So what does Church music look like today? Well it’s often very much that traditional hymn-singing I talked about.
But there are a few other types of church music…
Raise your hands
One mode of modern church music is what I think of as “Happy-Clappy” style. That’s too disrespectful a name really, but it’s the kind of music where you’re singing songs rather than hymns, the words aren’t based on scripture but are much more informal and secular-sounding, the music is more poppy and modern. Often there are actions (I must confess I cringe just saying that) and there’s a lot of clapping and waving arms in the air.
For a long time I was absolutely dismissive of this.
There’s a body of church music coming from African-American Gospel music, which is more upbeat, lively, and, well, ‘clappy’. I respect that as a genre and a mode of worship, although it isn’t one I’ve ever identified with. I think that’s the influence behind the rise of guitar-based poppy music in Catholic churches, often as part of youth outreach efforts, or children’s masses.
In dedicated family or children’s masses I think the agenda is different, and I think that style of music definitely has a place there. But until recently I would have been pretty resistant to its inclusion in any other masses, where I feel it’s mostly a distraction.
Waking up
I was given cause to rethink this by my experiences in Madrid this summer. (more…)
As I mentioned in my last post, the World Youth Day trip I went on this summer was particularly inspiring for me on the musical front. I’ve long been involved with and interested in church music, but the WYD week exposed me to some new and wonderful types of worship music (along with some old familiars which I like to varying degrees!)
This is the first in a series of posts on the topic of music in the church, inspired by the new music I encountered on that trip.
As it was in the beginning…
I grew up attending Catholic mass every Sunday with my family, which about half the time featured sung hymns. Depending on which local church we went to, some of the mass setting (e.g. the Gloria, Sanctus, etc.) might be sung, but for the most part it was hymns from a hymn book, accompanied by piano or organ.
I like hymns.
There are some fantastic hymns, and sung hymns can (if well chosen and well led) be a wonderful addition to a church service.
However.
The big curse of church hymns is that more often than not, they are performed at a snail’s pace, leaving even capable singers struggling for breath by the end of each tortuous line, and giving you so much time for your thoughts to wander during each verse you’re surprised the thing ever ends! Don’t get me wrong, I’m not some weirdo with a fetish for super-speedy hymns. I’m just looking for a reasonable tempo that’s something approximating speaking speed; enough to give the words some meaning and allow natural phrasing.
I recently had the opportunity to attend the enormous World Youth Day event in Madrid: a gathering of 1.5 million young Catholics from all over the world, joining together to express their faith, celebrate their religion and show support for the church and its leader, Pope Benedict XVI.
Despite the coverage in the UK media focusing mainly on the few thousand protestors, the city was absolutely dominated by positive youthful energy and exuberance, and it was truly a wonderful thing to be a part of. I loved seeing the city alive and loud, and people sharing and interacting in a way you never get on the streets of London. Such a spirit of joy and friendliness in people, with all their defenses down. To a born-and-bred Londoner like myself, accustomed to the buttoned-up “every man for himself” attitude so prevalent in big cities, it was a strikingly different and uplifting atmosphere.
Did you notice I said loud?
The occupation of Madrid was not a quiet, respectful, peaceful one. Far from it! The streets and public transport of central Madrid were alive in conversation and greetings (¡Hola!), but even more so with song and chant, in a huge variety of languages.
The startup world loves “bootstrapping”: the idea that you get a business off the ground not by seeking investment and outside funding, but by starting to sell products or services and then gradually growing the business using your own income. It comes from the expression “pull yourself up by your bootstraps” and just means that you’re using whatever resources you have to hand to get yourself going. I’m a bootstrapping fan myself; it’s how I’m running Easy Ear Training so far.
Lately I’ve been thinking about bootstrapping in music learning, and specifically ear training.
There may not be an obvious connection to you, but if you’re a musician you’re probably doing this to some extent already – just without realising it!
There’s a huge wealth of history to music tuition, and no shortage of teachers to tell you “this is how you learn X”, “this is how you practise Y”. And I wouldn’t for a second want to dismiss the value there.
But there’s another way too. This is the attitude of bootstrapping. Of “do whatever works”.
Bootstrapping your music education
If you want to be a concert pianist or reach the top of the profession in your chosen instrument or talent, you need to be careful. You don’t want to learn the wrong fingering for a scale, or develop poor embouchure early on – because the more you practise the wrong method, the more ingrained it becomes, and the harder you have to work later on to fix it. As a saying I recently came across puts it: “Practise makes permanent”.
That suggests that a “do whatever works” mentality is wrong-headed, and will only cause you pain later on.
But I think that attitude is far too motivated by fear. (more…)
It’s often been said that birds are nature’s musicians. They have an incredible variety of sounds and songs, and each species has its own distinctive calls. An experienced bird-listener can identify the type of bird just by its song. And from Vaughan Williams to Olivier Messiaen to Bob Marley, the music of birdsong has long inspired composers in their creations.
One of the wonderful things about developing your ears is that the more you learn about the sounds you hear, the richer the world around you becomes.
Just as a capable musician will hear riches and depths in a piece of music far beyond what the regular man in the street hears, somebody who has taken a bit of time to understand the sounds of nature will experience the world around them in a fuller, more inspiring and ultimately far more enjoyable way.
I recently enjoyed this kind of transformation with sounds from an unexpected source: birds.
The bird-watcher’s bind
If you grow up in England, taking an interest in birds is something of a social faux pas. There is a long-standing stereotype of the bird watcher as a sad obsessed nerd who has no ‘real life’. Like the train spotter, he suffers prejudice as someone who lacks friends, or any appreciation of ‘cool’ stuff. Cool stuff like football, chasing girls, drinking too much… and whatever else the current prevailing social conventions happen to be.
Of course, as they grow up, most people realise how silly and arbitrary the cool/sad distinction is – and how anybody with a passion or a hobby they’re enthused about is a deeply lucky individual. You begin to see that somebody with a specialised knowledge of an intricate subject is to be admired, not stigmatised or ostracised.
Although I have yet to be won over by bird watching, I have had my mind (and ears) opened to the wonders of bird listening.
This week I was introduced to a fantastic new website for learning songs on the piano, by a blog post over at Music Matters. It’s called OnlinePianist.com and the idea is to teach you songs visually by showing the keyboard fingering on screen while a MIDI version of the song plays.
Now the graphics and sound quality may be a little ’90s, but put aside any snooty reactions – because there’s real value here. The focus is on pop music, songs that are in the charts at the moment (which, sadly, makes me realise once again how little I pay attention to chart music!) But I managed to find some Nirvana, and some Green Day. Check out this example video of Green Day’s “When September Ends” for a glimpse of what the site’s all about:
An example song tutorial at OnlinePianist.com: Green Day's 'When September Ends'
Learn by seeing, learn by doing
As you’ll see from the video, the arrangement (marked “Intermediate” difficulty) is fairly simple, but clearly recognisable. The options to adjust tempo and isolate each hand’s part make it easy to dissect any tricky sections and break down learning into manageable chunks.
Every student learns differently, but I’d say there are two main camps of instrumentalist: (more…)
My name's Christopher Sutton and this is my personal blog. You can learn more about me