IN PURSUIT OF MUSICAL EXCELLENCE

Essays On Musicality

John Yarrington

• Publisher: PENIEL UNLIMITED
• Year: 2021
• eBook ISBN: 9781087974200
• Edition: 1
• Topic: Bildung
• Subtopic: Bildung Allgemein

CRAIG HELLA JOHNSON commentary:

While reading John Yarrington's In Pursuit of Musical Excellence: Essays on Musicality, I had the feeling of being in conversation with both a wise and wonderful friend and an inspirational teacher.It is clear on every page that these are the words of one who has dedicated his life to the choral craft.His talent, imagination and skills were shaped by a powerful lineage of legendary choral leaders and he now stands among them with his own distinctive voice and significant contributions to offer.He plays host to these choral luminaries along with several other important cultural voices by including many impactful quotations and unpublished notes.He writes both about the inspirational and the practical, always with a keen eye to eliminating anything in our work or process that is not essential in order that we may ultimately attempt to reveal the essence of a work.In the introduction, John writes, "I read constantly to be renewed, to be reminded, to be encouraged."In reading this collection of essays, I was consistently renewed, reminded and encouraged in many ways about this sacred and ennobling craft of choral music.I enjoyed this book immensely and I am deeply grateful for John Yarrington and for his outstanding contributions to our field.

Hilary Apfelstadt, PhD. commentary:

Author John Yarrington has amassed great wisdom in a career that spans more than 50 years working with choral ensembles in communities, churches, and universities.He presents his observations and those of some of his mentors and colleagues in a practical, direct manner, with no words wasted. In Chapter 6 we read, "You are beginning to get the focus of this book: what is not efficient needs to be eliminated." Whether that refers to words, gestures, or actions, we also learn that "singing is relational, " and that as conductors, we need to care for the music makers, just as we care for the music itself. There are practical rehearsal strategies, discussions of musical examples, advice about programming and the importance of text, about working with instrumentalists, and about being true to the music, among other concepts. Chapter 1 mostly comprises a series of quotations from musicians and each of these would serve as the basis for an excellent discussion in itself.

This book would serve as valuable reading material for prospective conductors and seasoned musicians who would benefit from practical reminders, delivered in a kind and sometimes humorous way. Yarrington knows the field intimately, having dedicated his life to choral music. One can trust these words. I highly recommend this book.

1

An Approach to Music and the Purpose of Analysis

I love language and I love words. Had I not gone into composition, I might have liked to try to be a writer. And I don’t think that’s unusual. Most artists who wind up doing one thing – painting or writing or composing – probably feel that if they had not gone that route they could have gone the other; because they are all modes of expression, of saying something you feel. In my case, I think because I like good literature, setting it to music is a natural thing for me to do. -- (Dominick Argento, Choral Journal, June 2007, Vol. 47, No. 12, p. 29)

Somewhere in the course of our study of music we must come to grips with our added dimension of vocal/choral music. Of course, this added dimension is language. We are all forced to face the reality of “technique.” The words are there. They stand squarely between us and the music, and we have to get through with as much vocal tone, understanding and finesse as possible. This lifetime study now must involve the contemplation of text as poetry, as holy writ, philosophical aesthetics, drama or sometimes just the babble of sound for sound’s sake. -- (Bev Henson, unpublished notes)

Question posed: How is composing for voice different as opposed to composing for instruments?

The huge difference is words. Words are not something you put underneath musical line, like sprinkling seasoning. The whole conception has to begin with words. Music has to grow out of the words or they don’t quite fit. -- (Alice Parker, The Voice of Chorus America, Spring 2000, p. 5)

The subtleties of language are negated when equal weight is given to every syllable. We should always look for the music in the words and expect singers to be so aware that they never “accent the un-accent-able.” Then we shall all sing: “Free at last…free at last…thank God the music is free at last.” -- (John Yarrington)

Sometimes all of our efforts to look at the minutia of details leave us with little information about the whole. The study of little facets must be tempered by an understanding of the entire object. We must look at the genesis of ideas. Where did material come from and where does it go? -- (Peter Boonshaft, Teaching Music with Passion)

Musicians strive to perform beyond the notes, to go underneath what is simply known, all the while recognizing that knowledge is never simple. This is the spiritual part of both music and being a musician: the need to go deeper into the art. No artist actually strives for perfection; we just strive to be better. -- (Patrick Summers, The Spirit of this Place)

In a very intense workshop for conductors, a participant rehearsing a piece by Mozart with much change of tempo and a large, vibrato filled sound, was asked: “Why are you doing it in this way?” The response was: “Because I feel it this way.” The workshop leader, with edge in his voice, said: “We don’t care how YOU feel it . . . how does Mozart feel it?”

Students in conducting class at HBU knew that when I stopped someone who was conducting all over the map and asked, “Why are you doing this like that?” If the answer was: “I feel it this way,” the entire class emitted a low whistle which meant: “Here comes the lecture again!”

As stated earlier, “In the beginning was the word . . . the music was in that word.” I would say the three “T’s of choice” are, text, text, text. Before making any decisions about interpretation, one must make an appropriate choice. Following that is the tedious, arduous process of score study to reveal, not how “I feel it,” but what are the essential elements of the music, and what are the questions to ask of the piece to form one’s interpretation and inform creative rehearsal.

As I review new publications, I am amazed at the banal expressions of text set to uninteresting music. Without a substantial text, I seldom look further. I desire something to put before my singers that will last, will inspire, will create wonder and excitement. Subsequently the return is a rehearsal that always presents the challenge of rising to the highest expression of the choral art. A worthy text inspires grand, eloquent, subtle musical expression in which music is never laid on top but, rather, is a logical outgrowth of the music that is already in the words.

INDICTMENT OF THE CURRENT SCENE:

I often hear excellent choirs (church/school/community) and wonder about the very personal interpretation. If the selection is from the standard repertoire, there is much performance practice information and many fine recordings which serve as guide to “how the music goes.” We also know that history texts make distinctions as to major style periods: Baroque, 1600 to 1750. But we also know that there is significant overlap so that a careful look is helpful in deciding on interpretation.

I believe there is a tendency to develop a “sound” which is used regardless of the work performed. Should there be a difference in sound between a Renaissance motet, a Bach cantata, a Schubert mass or a Brahms motet? How is that “sound” determined? I continue to hear performances where the almighty sound with exquisite tuning, balance, blend, tall vowels (often distorted toward “AH”) becomes more important than considerations of appropriate sound, articulated with nuance as it relates to a particular style. In plainer language: many a fine choir singing at various concerts has everything in place and gives an excellent performance. Often, the conductor micro-manages every detail – over-conducts, and the singers are obviously not charged with their part of the music making. Ensemble is about everyone on stage! When we rejoice in sound for sound’s-sake, distort vowels, over articulate consonants and take the liberty of a very personal interpretation (I feel it this way), the music suffers. Whatever the choice, music should be allowed to speak in its most hospitable environment. Differences in interpretation – bravo! Differences based on personal taste – boo! There is always the fear of coloring outside the lines, also, and many a performance plays it safe. I do not recommend “safe” – I do recommend thoughtful study.

FROM WHENCE DOES INTERPRETATION COME:

Looking in all the RIGHT places. As a conductor you are also your own audience. Listen to what happens within. The people sitting there must not keep the music from coming into existence. In your closed eye have the soul of other people. As a conductor you are alone. We are born alone and die alone, and are alone whenever great things happen. This makes us brothers. Courage is the basis for doing wonderful things in life, to see mistakes and go back once again, coming closer to the truth. -- (Julius Herford, unpublished notes)

I make no apology for the following ideas about studying a piece or a movement from a larger work. I also do not claim everything said as “mine own.” Obviously one can tell that I have been greatly influenced by some fine teachers, often quoted here. We must begin with text and, from the beginning introduction, bring all the musicality we can bear to the project. To gain “correct” pitches and even rhythms, but not have any idea where these pitches and rhythms go – how many go together – WHERE they go – and not allow the beauty of the words to influence is folly. What doth it profit a conductor to have correctness but lose all else in the process. -- (First John)

I asked my classes: “Do you love to go to the ballet?” Most do. Next question: “Have you ever been to a ballet studio rehearsal?” No attractive costumes – no lovely orchestral music – leggings, sweat pants, an upright piano, and sweat-sweat-sweat! My students want the “after” part – lovely costumes and orchestral music, but wish to forego the “before” part – the sweat! ‘Twas ever thus.

WE ARE NOT MUSICAL WHEN:

1. We attach equal weight to every syllable.

2. Ignore grouping and direction.

3. Elevate “the”, “of,” “and” to world-class status.

4. Do not allow the music to breathe.

5. We conductors do not breathe rhythmically with all of the color

and expression we can muster and we SHOW that in our

conducting preparation.

6. “Accenting the un-accent-able” never allows the music

to take flight.

Instead of reading the music for the first time, it is so easy to fall into the habit of turning on the phonograph player. This prevents us from contacting music directly without the mediation of an interpreter. Feeling helpless, again and again, we must confront the music silently with our mind and ears. We must expose ourselves to this situation, so that we may become readers. A musician is not entitled to listen to a recording until he has an idea of his own. It is shameful to only copy what another conductor does. -- (Julius Herford, unpublished notes)

As a conductor/teacher, I must not succumb to the “if-you-would-just-teach-us-the-correct-pitches-and-rhythms-we-will-put-the-music-in-later." Folly! Volunteer singers especially want security. Going over and over a particular part with pitches “pounded” out on the piano is not, however, the way to a musical performance. No one really listens to pitches pounded anyway.

We should always play those PITCHES softer TO inspire listening. We must ask for: 1. grouping and direction, 2. absolutely wonderful pitch, c. beautiful, well-formed vowels, and d. consonants articulated for the sake of textual nuance - not athletic event.

There must come a moment when one sensed the entity of a work, but does not yet know the details of the work. There must be avoided the moment when the details are known but the sense of entity is lost. -- (Julius Herford, unpublished notes)

WHAT, THEN, MAKES FOR AN INSPIRED

PERFORMANCE?

1. Trusting the music
2. Trusting the music makers – involving them – teaching and training them to love the poetry they are singing - to allow the words to speak through the music – to breathe – to enjoy – not to hurry– to listen to each other.
3. Making destination a priority: grouping, that is, how far does this parcel of text want to go – are there two-note slurs, because no two notes can ever be the same – the first always has more duration than the second. Is forward motion (not speed) evident?
4. How about basic rules of articulation: Does 3 move to 1? Does 4 move to 1? Does 6 move to 1? Do we preserve the text by lifting (not breathing) and allowing the music, thus, to breathe? Do we allow consonant articulation to fulfill a musical purpose or do we make consonants painfully obvious, calling attention, not to the music, but to the “f”, ‘k” etc.
5. Do we make marking a cardinal principle? Circling important words or syllables – marking lifts as well as breath – showing with a downward arrow destination places (like a map) - making sense out of the texture which is almost never SATB but some form thereof – do we look for duets and trios – whom is singing with whom? Or, are we content to have the correct notes in place with distorted vowels and all attention to tuning? (Prejudice showing)

OUR CHOICE:

1. Appropriate for the group? Essential text? Otherwise, why?

2. Challenge: Bach Motet 1 (Texas All State Choir, 2015) suitable for

high school voices? “Friede auf Erden” – suitable for high school

voices? The question is not whether or not these outstanding

students in many major high schools CAN sing this material, but

should they? Aren’t we in the business, in any age, to insure that our

choice represents growth for our singers?

3. Do we, as conductors, study the music carefully so that we can

teach efficiently and musically?

4. Do we, as conductors, use gesture to reinforce our teaching? More

often than not, I see too much movement – music over-conducted;

gestures which call attention to the conductor and not to the music.

Gestures must be appropriate and should serve not only to remind us of all of the above, but to allow a truly inspired performance. I tell my students to stand still and let the music come to them. If they want it louder they can increase their gesture, or softer (without bending over). Any beat may be elongated to show a specific articulation. If we have done our score study, made a good choice, trust the music AND the music makers, then we should be able to make music without looking like the guy in the circus keeping the plates spinning. (Prejudice)

Here is what I believe: We are servants of the music, not masters. When we intrude with unfounded ideas of interpretation, based on personal taste, rather than study, especially study of performance practices, we do a di...

Table of contents

• Half-Title
• Full-Title
• Copyright
• Dedication
• Review Commentary . . .
• Contents
• Introduction: In The Beginning Was The Word
• 1 - An Approach To Music And The Purpose Of Analysis
• 2 - The Interpretation Myth
• 3 - Vocal Athletes
• 4 - Rehearsal Strategies
• 5 - Understanding Articulation – The Long And Short Of It
• 6 - The Energy Mystique
• 7 - Already Too Loud!
• 8 - The Relationship Quotient
• 9 - Why Making Music Matters
• Epilogue
• Bibliography
• The Author