A few years ago we started a tradition at Randall: Percussion Christmas Caroling. No, it's really not what you think at all! I call up a few nursing home-type places, see if we can come out and entertain, then we take our keyboard instruments around and play Christmas Carols for the residents.
Having been influenced by an elder director friend of mine to give back to the community as much as you can ("you and your students have a gift that needs to be shared") it sounded like a great opportunity to expose my students to a world they often do not see (myself included) and musically, it is good for sight-reading and brushing up on our bass clef.
So, this year we took a crew of 12 (or largest number in this our fourth year to do this - last year was snowed out, but I still count it) to three different locations. The first place was probably the best performance and experience all around: Childer's Place at the Bivins Home.
I was a little apprehensive when we got there: our program was scheduled to be upstairs and when you are dealing with seven keyboard instruments, the "upstairs" is not your friend. Alas, the two elevators we were instructed to use were big enough to take up a 4 1/3 octave marimba!
After playing at Bivins, we headed over to the Craig Retirement Village. We were set to play in the Alzheimer's Unit. Well, this was a little more eventful. Eventful because I pulled our truck up under an awning that is not meant to have a truck our size driven under it. With caution, I sized up the awning and decided that our truck could in fact fit under it. I was mostly correct, because all but the last foot and a half of the truck cleared fine. The last little bit made contact and caused a little damage.
After carefully backing the truck up (and exchanging insurance information with the head Environmental Services man) we played an abbreviated version of our program, then got the heck out of there. I'll admit it, I was really embarrassed by the whole thing! But, I have to mention that the employees there at the Craig didn't make a big deal of it and were very nice to me.
Now, I can't seem to load photos into my blogs in the correct order, so I'm going to talk a little bit about our party afterwards before I talk about our interesting experience at the third location.
When we were all done caroling and dropping those keyboard instruments off at various student's homes, we went over to the Prater's house for a little after-party. Mrs. Prater was gracious enough to host us and to prepare a small feast.
Here is Regan with Mrs. Prater:
A few of the students enjoying themselves:
Regan warmed right up to Amanda!
Disclaimer: Sorry about the quality of these photos. I was only armed with my cell phone, so I'm not going to pretend that these are of a high quality.
Now, I said earlier that our third stop was an interesting experience. Rather than tell the whole story, I'll give a brief account of what happened:
Upon arriving at our last stop, we realized that there was no hope of us getting all of our keyboards through the tiny front door. Since there were no large service doors elsewhere, we had to make due with only getting a student line marimba and a xylophone through the doors. What to do?!? Amanda jokingly suggested that we could sing -- a suggestion she would come to regret! That's what we were forced to do: sing. Three of us manned the keyboards: myself, Joel and Wesley W. and the rest of us sang out of the hymnals.
I had to make sure the residents knew that we were not representing the Randall Choir. Our choir has a fine reputation and I'd hate for a bunch of band kids to ruin it!
So, here are a few pictures of our unusual consort: a xylophone, a marimba and a hodge podge of talented (or untalented) vocalists:
I don't think we caused much damage with our voices... at least not as much damage as I did to the awning at the Craig...
Monday, December 24, 2007
Tuesday, December 11, 2007
Merry Christmas!
Thanks to Travis V. for taking this great picture of the Rath clan in front of our church's Christmas Tree!
Sunday, December 09, 2007
A Perfect Nutcracker?
Tonight marked the end of another run of the Nutcracker. This was my third season to play with the Amarillo Symphony Orchestra as part of the Lone Star Ballet's production. In all of my three years, I have played exactly the same parts, so at this point I am pretty well familiar with what to do with them. Suspended Cymbal on No. 2, Triangle and Crash Cymbals on No. 4, tam-tam, bass drum, tambourine - nearly everything instrument-wise except glock, and snare drum and toy drum. And so on.
There were three rehearsals before our dress rehearsal (which is considered a performance because the house is full). The first rehearsal I was late too; coming from All-Region auditions (which went well, thanks for asking!). The second was forgettable and the third was unforgettable. I missed two key cymbal crashes on Wednesday night and as a result was pretty down in the dumps for the rest of the rehearsal. When you play so few notes in such a long production, then miss two that are on very climactic moments, it doesn't bode well for your self-confidence.
So, fast-forward to Thursday's dress rehearsal/performance: I didn't miss a single note. I was bound. I was determined. I was... perfect?
If you mark perfection, in this case, by playing all of my notes at the right time (and oh, I suppose on the correct instrument), then yes, I was perfect. I neither left any notes out, nor added any notes.
If you mark perfection at a higher rate, factoring in things like dynamic consistency, consistent tone quality and appropriate balance with the rest of the ensemble, then no, I was decidedly imperfect.
Without going into unnecessary detail, a few of the things I did wrong were dynamis consistency issues - playing each suspended cymbal crash the same volume, playing each fortissississimo crash the same way. As a matter of fact, I've maintained in the three years I've played the Nutcracker, that my hardest excerpt is the opening triangle excerpt at the beginning of No. 3. There are precisely thirty-one triangle notes in a row (separated by quarter rests) played at piano. At best, I could make a string of six or ten of them sound exactly the same before I got a different timbre out of the instrument. At worst, no two back-to-back sounded alike.
Did this detract from the audience's impression of the ballet? Probably not. Did the conductor call me into his dressing room to talk to me about this? No. Did even one of the other percussionists bring this up even in passing conversation? Nope. Will I strive to make all thirty-one triangle notes at the beginning of No. 4 sound exactly alike next year? Undoubtedly so.
How about Friday? Or the two shows on Saturday? Both performances on Sunday? Actually, I repeated Thursday night's performance as far as "perfection" is concerned. I played every single note correct for six straight shows. And while my notes were not consistent, playing six shows without missing or adding a note is, in its own way, a display of consistency.
So, was this series perfect? Maybe. Maybe not. There's always next year.
There were three rehearsals before our dress rehearsal (which is considered a performance because the house is full). The first rehearsal I was late too; coming from All-Region auditions (which went well, thanks for asking!). The second was forgettable and the third was unforgettable. I missed two key cymbal crashes on Wednesday night and as a result was pretty down in the dumps for the rest of the rehearsal. When you play so few notes in such a long production, then miss two that are on very climactic moments, it doesn't bode well for your self-confidence.
So, fast-forward to Thursday's dress rehearsal/performance: I didn't miss a single note. I was bound. I was determined. I was... perfect?
If you mark perfection, in this case, by playing all of my notes at the right time (and oh, I suppose on the correct instrument), then yes, I was perfect. I neither left any notes out, nor added any notes.
If you mark perfection at a higher rate, factoring in things like dynamic consistency, consistent tone quality and appropriate balance with the rest of the ensemble, then no, I was decidedly imperfect.
Without going into unnecessary detail, a few of the things I did wrong were dynamis consistency issues - playing each suspended cymbal crash the same volume, playing each fortissississimo crash the same way. As a matter of fact, I've maintained in the three years I've played the Nutcracker, that my hardest excerpt is the opening triangle excerpt at the beginning of No. 3. There are precisely thirty-one triangle notes in a row (separated by quarter rests) played at piano. At best, I could make a string of six or ten of them sound exactly the same before I got a different timbre out of the instrument. At worst, no two back-to-back sounded alike.
Did this detract from the audience's impression of the ballet? Probably not. Did the conductor call me into his dressing room to talk to me about this? No. Did even one of the other percussionists bring this up even in passing conversation? Nope. Will I strive to make all thirty-one triangle notes at the beginning of No. 4 sound exactly alike next year? Undoubtedly so.
How about Friday? Or the two shows on Saturday? Both performances on Sunday? Actually, I repeated Thursday night's performance as far as "perfection" is concerned. I played every single note correct for six straight shows. And while my notes were not consistent, playing six shows without missing or adding a note is, in its own way, a display of consistency.
So, was this series perfect? Maybe. Maybe not. There's always next year.
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