Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Friday, February 27, 2015

On a Tapestry of Sound

Despite the chill I feel at my desk, the heater roars, ineffectually, but steadilymere white noise that I generally endeavor to ignore.  In quiet, thoughtful moments, it returns to my awareness, and in an odd twist of perception, it seems as if someone were playing with its volume as my attention meanders to and away from it.  Reflecting on that noise, I expand my awareness, considering the other oft-ignored stimuli in my earsthe tapestry of sound hanging in the background while I work.

By Luis Lima89989, via Wikimedia Commons
I hear my own keyboard clacking faintly as my fingers slide here and there, pressing keys.  Farther afield, in various unseen corners of the large space in which I sit, chairs momentarily creak or roll.  Someone taps papers together.
To my right, a printer revs up with a whirr, and I hear it churning out documents, each page landing with a gentle tick.  Moments after it finishes, some unidentifiable machine in the coffee shop’s corner starts grinding away.  Before my muscles can start to ache with tension against the unpleasantness, the clamor stops, replaced after a while by the musical clinking of glasses being jostled together.
A soft creak emerges on my left as a student opens the nearer door leading to the vestibule, followed moments later by a louder “swoom,” like a great inhalation, as another student broaches the door on the far end of the same area.  My opposite ear hears a metallic click and snick, then a more generic thunk as some sneaky person uses the stapler at the front desk and sets it down, then departs with nary a tramp of a foot or a swish of clothing.
Through this mesh of sounds occasionally comes the scrape of shoes passing over the carpet by the doors, as well as the tappingnear and distantof footsteps on waxed tile, varied with the intermittent squeak of tennis shoes or the slide of a foota susurrus like someone practicing soft-shoe. These are joined in some cases by the jingling of keys with each step, by the hum of a briefcase or bookbag rolling on wheels, or by the high-pitched “cling” of something metal striking the barricade around the atrium overlooking the library.  
A regular, percussive rhythm enters the room, joined shortly by a set of footsteps and the harsh, staticy jangle of indistinct music pouring from poorly insulated earbuds.  I give the student a minute to settle in, a chance for him to do the considerate thing and drop the volume.  Under the “music,” I listen to his steps, the roll of a chair, the plunky-creak of him sitting.  Moments later, the metallic beats fade away, leaving only the usual ambient sounds.
A woosh accompanies a small group of people who slowly tap their way into the room, one voice chattering above the rest as a student ambassador guides the prospective student’s family around the building.  Above the ambassador’s voice, and above the sharp, steady ripping of paper from a notebook, the familiar tones of an instructor carries from the far corner of the room where she conducts her class. Elsewhere, someone’s foot drums a quick rhythm, then stops just as suddenly as it began.
After the tour group passes, quiet voices continue to murmur here and there.  A laugh rises momentarily like birdsong above the forest.  For a moment, all fades to unexpected silence…
Then, a pair of coughs.  The symphony of sound resumes: The sibilant slide of a coat sloughed off of shoulders.  The quiet thump of a book set on a counter.  A ringtone, sharply cut off.  Approaching treads followed by the grinding of the pencil sharpener just yards away.  A high-pitched thrum, signaling that someone has activated the automatic door.  It admits quick, clicking footsteps and the faint whizzing of a bookcase wheeled along behind.
All the various sounds weave together, creating a tapestry of space and activity almost as clear as sight.  And through it all, though I still sometimes tune it out, the heater’s fan roars on like the din of a distant waterfall.

Wednesday, December 17, 2014

On the Pipe Organ

      After ten years of piano lessons and over ten additional years of playing sporadically for myself and for church, I've recently begun practicing on my church's pipe organ.  So far, it's been an interesting experience and requires more concentration and research than I'd anticipatedand I still have a lot to learn.
Photo courtesy of commons.wikimedia.org--
I hope to get a photo of the organ I practice on soon, but this'll do for now.
      As a kid, I played around on the organ my Dad still ownsa relatively portable harmonium (reed organ) that has only one manual (keyboard), two pedals for pumping air through any open stops (sets of pipes), and no pedalboard (keyboard for the feet).  However, comparing a pump organ such as that to a true pipe organ is like comparing a pauper to a king.  Pipe organs boast two to five manuals, a pedalboard, shoes (foot pedals to get dynamics), a relatively wider variety of stops for each set of manuals and the pedalboard, and generally includes several pistons (buttons for preset stop combinations).  In addition, I need not pump the bellows myself (nor hire choirboys to do so, as needed in Bach's day); now an electric blower may be turned on to do the job.
      Already I'm throwing a lot of terminology at my poor readers, and I haven't even named the manuals or common stops!  But this gives the uninitiated a small feel for the complexity of the instrument.
     To proceed with my experiences with pipe organs--during high school, I had dabbled on my church organ in Topeka a couple times.  Yet, without proper instruction, I didn't really know how to use it, and learning it was a low priority, what with ballet and homework.  When I decided to start learning the organ more recently, our organist recommended I start by practicing hymns.  
      "Sure, I can do that," I thought.  I decided to spend time practicing after giving my weekly piano lesson; I'd be at the church anyway.  The first time I stayed late and turned the key to activate the blower, I found the organist's hymnbook has no pedal line and no notes about what stops to use.  The names of the stops also meant little to me.  What was I to do?  I played around a little, getting used to the sound of each stop (and feeling like a kid expecting a parent to come scold her for being too loud, especially when I played the Principal stops).  Then I went home to research. 
      I found a list of guidelines for stops to use for various types of hymns and music for other parts of a service.  I also looked up as many stop names as I could remember, wishing I'd thought to write them down.  I did so before the service on Sunday to allow me to look up the rest of the stops later, and found out from our organist that when a pedal line isn't written, we're to omit the bass line of the music in the left hand and instead play it with the feet.  Doing so, I found that next Tuesday, requires an unexpected amount of mental and physical coordination, even for a pianist and former dancer. When a pedal line is included (as on much of my organ books and the free sheet music I obtained from the internet), the musician has to read three lines of music; one for each hand and one for the feet.  I haven't decided yet which is more challenging.
      Each practice session has gradually improved my ability to play and also revealed new unanswered questions, requiring further research at home.  I generally love living in the Information Age, with information a click away.  Unfortunately, web searches for pipe organ tutorials weren't as fruitful as I'd hoped.  Sites I found either covered basics I already know, generalities that don't help, or specifics for a much more complicated organ than I have access to.  The most useful, best-organized site I've come across so far has been piercepipeorgans.com--which I truly wish I'd come across first.  I instead found most of the information that this site so helpfully contains scattered piecemeal in a dozen other sites amid less useful info.

My current unanswered questions are as follows:
  • How can I compensate for stops (and manuals) that my organ doesn't have, but which a piece of music calls for?  (Is it possible or advisable to substitute certain stops, and if so, which ones?  Or would doing so compromise the quality and authenticity of historical music too much?  Could multiple manuals be compensated for using the pistons?)
  • When a piece of organ music directs the musician to change between manuals, how do I know which staff/hand(s) the words refer to--is it always above or below the staff it applies to?  What does it mean when a piece of music repeats a direction to change to the same manual it's already on?
      Lately, frigid temperatures in the sanctuary have kept me from remaining to practice after piano lessons; I would feel guilty heating that large space just for one person for a couple hours.  Perhaps bringing a space heater might be in order... but that's a thought for 2015.