Music as Language

Music is a language. Through it we express joys and sorrows beyond words. Composers across the centuries have given us pieces crafted in the language of music that we perform repeatedly. We trust in their skills and creativity to create the atmosphere or transmit our feelings to others.

In our spoken language however, we do not rely upon great writers to express ourselves. Imagine trying to have a conversation where you could only quote Shakespeare. While we may not be great writers or even great orators like Abraham Lincoln or Martin Luther King, Jr., we are all capable of putting words together and conveying our thoughts to another person in a coherent manner.

For me, improvisation becomes the ability to converse in the language of music. When we enter the world of music, why do we suddenly lose faith in our own ability to communicate? Everyone learns his or her native language, and perhaps a few others. All musicians should learn not just to recite the music others have provided but to create their own expressions in music. Complex sentences and large structures are not required in our everyday conversations. Why should we consider a good improviser only someone who can make complex music? To improvise well should be as easy as speaking a well-constructed sentence.

Daily Practice

We learn our native tongue through constant use. We are surrounded and encouraged daily as a child to make sounds and put words together, even if they don’t follow correct grammar! To master the language of music, we need that same daily practice, encouragement, and immersion. A child doesn’t learn to say “mama” and “papa” in the same day. How many times did the parents say those words to the child before he or she uttered something close to those sounds? Find a sound or progression you would like to make part of your improvisation vocabulary and practice it daily. Do you have a keyboard at home? Play your chosen sounds every time you walk by it! We learned the grammar of our spoken language not because we learned the rules but because we heard them applied every day. A three-hour session on Saturday afternoon will not have the same lasting result as a few minutes everyday. Sure, we can make progress in a long session, but we learned our language through daily practice. We should do the same to master the language of music.

Workshops

This Saturday, I will present a workshop to the local Baltimore AGO on improvisation. If you are in the area, feel free to drop in. We’ll be at the Cathedral of Mary Our Queen from 9:30 to 12:30 on October 14. After an opening presentation on looking at improvisation as conversing in the language of music, there will be time for questions and willing volunteers to sit on the bench and apply the ideas.

I will also be attending the AGO Pedagogy conference next week at the University of Kansas in Lawrence. With a focus on organ and improvisation study in the French conservatory system, I hope several of you are planning to attend. Please say hello if you see me there!

Hoping you speak music daily!
Glenn


Newsletter Issue 67 – 2017 10 11

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Michael Joseph

Michale JosephMichael Joseph earned both a Bachelor’s degree in Music Theory and Composition and a Master’s in Music Education from the University of New Hampshire in Durham. For over thirty years, Michael has worked in music education in both MA and NH and directed music ministries for several churches in Manchester. He also served as Director of Music Ministries for the Roman Catholic Diocese of Manchester. He currently serves as an adjunct professor of music at Rivier University and Director of Music Ministries at First Baptist Church of Nashua.

Michael Joseph offered a masterclass to the Manchester AGO Chapter that you can watch here.

YouTube Channel:
ProfJoseph4855

Videos:
Michael Joseph – Improvisation on Hyfrydol – First Baptist Church of Nashua, NH
Michael Joseph – Symphonic Improvisation on ‘Slane’:Minuet – St. Joseph Cathedral, Manchester, NH
Michael Joseph – Symphonic Improvisation on ‘Slane’:Finale – St. Joseph Cathedral, Manchester, NH

2014 Summer Courses

In addition to the offerings at the AGO National Convention in Boston, there are several other courses around the world offering improvisation instruction during the summer of 2014. Please feel free to share information about other courses in the comments. I will try to add to the list as I find out about other offerings.

London Organ Improvisation Course
http://www.loic.org.uk
15-18 July 2014
The London Organ Improvisation Course is intended to help organists of all standards to improve their improvising skills for personal musical development, service-playing, concerts and for the examinations of the Royal College of Organists. One day of the course will take place in St. Albans and will include a concert by the guest teacher, Franz Josef Stoiber, Organist of Regensberg Cathedral, Germany. Other teachers for the course include: Ronny Krippner, Duncan Middleton, and Gerard Brooks, Course Director.

Masterclass: Masters Of Ste Clotilde
http://steclotilde-organ.tk/
Monday June 30 to Wednesday July 2 2014
Monday to Wednesday, morning: (9h-12h):
Franck, Tournemire, Pierne, Duruflé, Bonnal, Langlais, Cogen,…
Monday and Tuesday Afternoon (14h-17h): Improvisation
with Olivier Penin and Nicolas Pichon

Classical Music On The Spot:
Eighteenth-Century Keyboard Improvisation

Eastman School of Music • 26 Gibbs St. • Rochester, NY 14604
Workshop I: June 30-July 4 / Monday-Friday, 9:00 a.m.-5:00 p.m.
Workshop II: July 7-11 / Monday-Friday, 9:00 a.m.-5:00 p.m.
Gilad Rabinovitch & Johnandrew Slominski, directors
Two weeklong 18th-century keyboard improvisation workshops in which students will hone their improvisation skills and deepen their understanding of the galant and high classical styles. There will be a special emphasis on the Italian tradition of partimenti and on Robert Gjerdingen’s galant schemata as a basis for keyboard improvisation. Analysis and listening will complement practical improvisation activities. The first workshop will be an introduction to style improvisation; the second workshop will examine advanced topics (including ornamentation and performance practice) and treatises (Quantz, C.P.E. Bach, Niedt, and the Langloz Manuscript).

Haarlem International Summer Academy for Organists
http://www.organfestival.nl
12 – 26 July 2014
Improvisation for advanced students: an extended, 11-day course for advanced improvisers directed by Jürgen Essl (Stuttgart) and Peter Planyavsky (Vienna).
Improvisation for beginners: A 5-day course with the Haarlem Stadsorganist Jos van der Kooy, well-known for his sympathetic and encouraging approach to professional organists lacking improvisation skills.

International Summer Organ Conservatoire
http://organconservatoire.org/
July 12th – 28th 2014
Directed by Nigel Allcoat with guests, Prof. Erwin Wiersinga (Berlin University of Arts and the Martinikerk, Groningen), and Prof. William Whitehead (London). The first week is in Saint-Antoine l’Abbaye (12-19 July) and the second week is in Poligny (20-28 July).

The Saessolsheim Organ Academy 2014
http://www.asamos.org/
23-30 July 2014
Saessolsheim, Alsace, France
Improvisation instruction will be offered during this course by Francis Jacob.

Smarano Organ and Clavichord Academy
The 18th Century Fantasia and C.P.E. Bach
29 Jul – 8 Aug, Venice-Smarano, Italy
Will include sessions on improvisation: “Free Fantasia” and “Stylus Fantasticus” at the keyboards by William Porter and Edoardo Bellotti.

South German Organ Academy OAO 2014
31 July – 3 August 2014
Organ class on the 1784 Holzhey Organ in Obermarchtal Monastery with a visit to the ISAM (International Summer Academy of Music) Organ Class in Ochsenhausen with Jürgen Essl.
Johannes Mayr will teach a participant’s free choice of repertoire from early Baroque to early Romantic and/or improvisation.

Organ course with Ansgar Wallenhorst
Glenstal Abbey
County Limerick, Ireland
August 11th-13th 2014
Taught by Ansgar Wallenhorst, this workshop is open to organists at every level of ability who wish to develop their own creativity in improvisation either in the context of liturgical services or in concert performance. With a combination of group work in the mornings (9.00-12.00) and individual lessons in the afternoon (15.00-17.45), the workshop will be adapted to the abilities, tastes and preferences of the individual participants. Participants are invited to bring music which they already play or are learning as an indication and basis for developing according to their own level and stylistic preferences. Evening sessions will include, on Monday, an exploration of improvisational style in Irish traditional music Cas Amhrán Cráifeach – a poetics of religious and secular song from the Irish sean-nós tradition with Nóirín Ní Riain PhD, and a short recital on Tuesday.

International Organ Academy Improvisation Course
1-5 September 2014
Improvisation course by Thierry Escaich on the Schwenkedel organ of the St Donat Church (France)

Faszination Orgelimprovisation
3–6 September 2014, Waldsassen, Germany
Course for Organists by Franz Josef Stoiber

AGO Boston 2014

The 2014 National Convention of the American Guild of Organists will be held June 23-27 in Boston. The convention website with complete information may be found here.

Listed below is information about the events at the convention that will include or focus on improvisation:

National Competition in Improvisation:

  • Semi-final competition round
  • Monday, June 23, 9am to 1pm
    First Lutheran Church of Boston
    299 Berkeley Street, Boston

  • Final competition round
  • Thursday, June 26 at 9am

Concerts:

  • 2012 winner concert
  • Robert Nicholls
    Arlington Street Church
    351 Boylston St, Boston
    Wednesday, June 25 & Thursday, June 26, 3:30 pm

  • Concert
  • Thierry Escaich
    Basilica of Our Lady of Perpetual Help
    1545 Tremont St, Boston
    Friday, June 27, 9:15 AM

  • Hymn Sing
  • Bruce Neswick and Pamela Ruiter-Feenstra
    Old South Church in Boston
    645 Boylston St, Boston
    Friday, June 27, 2:30 PM

  • Worship: Jazz Service and Concert: Silent Movie
  • Peter Edwin Krasinski
    Old South Church in Boston
    645 Boylston St, Boston
    Wednesday and Thursday, June 25 and June 26, 7:30 PM


Masterclass on Organ Improvisation

Thierry Escaich
Friday, June 27, 1:00 pm

Other workshops:
Tournemire’s Improvisation on “Victimae paschali”: Audio vs. Transcription
Kirsten Rutschman
Tuesday, June 24, 3:00 pm

Practical Aspects of Teaching Tournemire’s Improvisatory Style
Ann Labounsky
Tuesday, June 24, 3:30 pm

Improvisation Pedagogy: Sustainable Musicianship
Pamela Ruiter-Feenstra
Tuesday, June 24, 4:15 pm

Inspired Service Playing: How to Move From Here to There
Joyce Shupe Kull
Tuesday, June 24, 4:15 pm

Accompanying the Divine: Dramatic Improvisation in Liturgy and Silent Film
Peter Edwin Krasinski
Wednesday, June 25, 8:30 am

Extemporaneous Sublime: Indeterminacy and Transience of the Improvised Moment
Zvonimir Nagy

Thursday, June 26, 9:45 am

Harmony by the Numbers – Principles of Thoroughbass Fluency
Dean Billmeyer

Thursday, June 26, 11:00 am

Tom Trenney

TTrenneyTom Trenney serves as Minister of Music to First-Plymouth Congregational
Church (United Church of Christ) in Lincoln, Nebraska. He became the first organist to be awarded First Prize and Audience Prize in the American Guild of Organists’ (AGO) National Competition in Organ Improvisation in 2006.


Recordings:

Organ Ovations & Improvisations
Includes an improvised suite on the tune Hyfrydol.

Videos:
Excerpts from a masterclass by Tom Trenney given at the AGO National Convention in Nashville, TN, July 2012:
Tom Trenney – Improvisation Masterclass, Part I – Nashville, TN
Tom Trenney – Improvisation Masterclass, Part II – Nashville, TN
Tom Trenney – Improvisation Masterclass, Part III – Nashville, TN

“Duke Street”, April 28, 2013 at First-Plymouth Church
“Come Down, O Love Divine” – First-Plymouth Church
Tom Trenney – Improvisation on ‘ENGLEBERG’ – First Plymouth Church, Lincoln, Nebraska

William Porter

William PorterPorter studied organ at Oberlin College and Yale University where he received the DMA degree in 1980. He taught harpsichord and organ at Oberlin from 1974 to 1986 and taught organ, music history and music theory at the New England Conservatory in Boston from 1985 to 2002. He has also taught organ improvisation at the Eastman School of Music and McGill University.

He has an article on North German Improvisational Practice in GOArt Research Reports Vol. 2 and an article on contrapuntal improvisation in the GOArt Research Reports, Vol. 3.

You can hear him on Spotify.


Recordings:

An Organ Portrait
Includes and improvised Magnificat setting.

Videos:
Three excerpts from a masterclass given by William Porter on Hymn-Tune Improvisations at the AGO National Convention in Washington, DC in July 2010:
William Porter – Hymn-Tune Improvisation Masterclass, Part I – Washington, DC
William Porter – Hymn-Tune Improvisation Masterclass, Part II – Washington, DC
William Porter – Hymn-Tune Improvisation Masterclass, Part III – Washington, DC

Smarano International Organ Academy Course Part 1
Smarano International Organ Academy Course Part 2
Smarano International Organ Academy Course Part 3
Smarano International Organ Academy Course Part 4
Smarano International Organ Academy Course Part 5
O dass ich tausend Zunge hätte – Prelude
O dass ich tausend Zunge hätte – Canon
O dass ich tausend Zunge hätte – Intermezzo
O dass ich tausend Zunge hätte – Fugue
Improvisation: Four Modal Variations on Salve Regina: I (Theme and Plein jeu)
Improvisation: Four Modal Variations on Salve Regina: II (Scherzo)
Improvisation: Four Modal Variations on Salve Regina: III (Meditation)
Improvisation: Four Modal Variations on Salve Regina: IV (Introduction and Passacaglia)