Tag Archives: conductor

Conductor

Conductor: (n) a person who directs the performance of an orchestra or choir.

I have a friend who has played oboe for many years.

I got a hankering to write some pop-classical music, and thought it would be wonderful if we could start a symphony orchestra in a medium-sized Southern town. (On another occasion I will go into the details of what it was like to promote such a high-brow idea in a town where thefunny wisdom on words that begin with a C
 Cracker Barrel is always packed to the gills.)

But the thing we immediately discovered was that female conductors and symphony orchestras do not necessarily coincide–and also that symphony orchestras and innovation have been separated for quite some time.

So rather than easing our way into the marketplace, we took a radical approach. Perhaps the most outlandish idea was placing the conductor in the middle, at the rear of the orchestra, facing the audience, so those who came to the hear the symphony could experience seeing the symphony conducted, right in front of them.

It was ground-breaking, and my friend was a natural.

We did this for about eight or nine years, and then grew weary of the tedium.

One wonderful thing about life–if you get tired of what you’re doing, you can go “conductor” yourself in another activity.

 

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Choir

Choir: (n) an organized group of singers

I found that being in a choir squashed my desire to be heard. Yes, you have to be willing to blend.

Matter of fact, they talk about “the blend”–that particular sound that a group of singers makes which is supposedly unique unto them.

It is fairly restrictive. Even the names are:

The Mormon Tabernacle Choir: “To sing, I have to be Mormon, get directions to the tabernacle, and then hide my voice among other song birds. I am en-caged.”

I felt this in high school.

When I quit the football team because I discovered they made fat boys run, I realized that my second-greatest interest other than tackling running backs was singing. It seemed logical to join the choir, since that was the avenue afforded to me on the thoroughfare of musical expression.

I hated choir. Nobody could hear me sing. They commented on “the blend,” or applauded the musical director, or noted how the robes looked so good.

It drove me nuts.

So in rehearsal one day, in a fit of rebellion and pending insanity, I just started singing another song from my standing position in the choir, while the rest of the parakeets tweeted out the prepared number.

My voice was strong, but certainly not powerful enough to overcome the mass musical. But it was annoying enough that the director kept tilting her head, leaning in with squinting eyes, trying to determine what was disrupting her “blend.” I just kept singing a different song–a little quieter, but with enough volume to create frustration on the face of the conductor.

After a few moments, she took her baton and tapped it violently against the music stand, stopping the proceedings.

“Is everybody singing the same song?” she bellowed to the gathered.

Those standing closest to me, who heard my little interpretation, turned in unison and gazed in my direction.

I was caught. The director peered at me intensely and said, “Were you singing a different song?”

I paused–not so much to make it seem like I was making up a story, but just to express my alarm. Then I replied, “I thought we were doing Number Eight in the program.”

I don’t think she believed me, but she played along.

“No,” she said. “It’s Number Seven. I’m sorry if I did not make that clear.”

“You’re forgiven,” I replied in my snootiest voice.

She nearly lost all sensibility. Glaring at me, she said tersely, “Thank you.”

We resumed singing, and I couldn’t help myself. Once we had gotten a chorus of the song in, I reverted back to my former tune, which was completely alternative to “the blend.”

This time she stopped and used her baton to point toward the door as she screamed, “Get outta here!”

There were giggles and whispers as I made my way out, escaping the class. Fortunately for me, she was not specific about where I should get–so since I was told to be punished, I just went early to have a leisurely lunch.

 

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Accelerando

by J. R. Practix

dictionary with letter A

Accelerando: (adj. & adv.): with a gradual increase of speed (used chiefly as a musical direction)

It was another example of one of those times when I overstepped my boundaries and in the process, slipped on my own crap.

I wrote a musical piece for the piano and was blessed that a small symphony orchestra agreed to play it in one of their concerts. It helped that I was good friends with the conductor. She thought it would be excellent if I performed the piano part with the symphony, giving it more focus.

Never considering my limitations on the magical eighty-eight keys, I quickly agreed, and gave a passive effort of rehearsal.  It was passive because I had enough arrogance to believe that I was a fairly decent pianist, and also regarded myself as being acquainted with this particular music since I had written it.

When I arrived at the first rehearsal with the orchestra, it became quickly obvious that I was ill-prepared to be anywhere NEAR the musical instrument  provided to make the melody, especially when I came to the end of the concerto. Because I was unable to the play music in the correct timing, I slowed them up, which prompted a flutist near the conductor to raise his hand and ask, “Is this passage going to be rubato?”

My conductor friend shook her head without verbally responding.

He persisted. “So — should we anticipate an accelerando?”

She frowned and once again shook her head.

It was very embarrassing–similar to being in a foreign country, and in a clumsy way ordering off the menu, only to notice that the waiter has gone back to the cook to chat in their common language and laugh at your selection.

Later on, my conductor friend explained that the flute player was asking if my playing was going to be rubato, which meant purposely slowed up by my own choice, or if there was some way she could build a fire under me to create an accelerando ( in other words, play it right).

I discovered that day that even in the world of classical music, there is still language available that says, “Hustle up your butt!”

The fact that it’s being said in Italian only makes it a bit more elegant.

It also makes it a trifle more aggravating.

 

Abattuta

by J. R. Practix

dictionary with letter AAbattuta: (adv.) a musical term meaning to return to strict tempo.

Sometimes I think life should be more musical–not in the sense of bursting into song while you’re waiting for your meatball sandwich at Subway, but musical in the sense of flourishes in timing, with exciting melodies and enhancing harmonies. Music grants you the ability to suddenly play very fast. And then … you can abattuta! Return back to your strict timeframe.

Life is not that way. It takes sixty seconds to make a minute, an equal number of minutes to make an hour, and twenty-four of them eventually make a day. Wouldn’t it be great if you had some sort of control–like a conductor’s baton–to make certain portions of your daily composition go quicker?

In other words, when you go to the dentist and he’s drilling on your teeth, you could increase the tempo–get out of the chair with a flourish. And then, as you were allowing the Novocaine to wear off and you stop at that Steak and Shake to reward yourself with a delicious chocolate-marshmallow milkshake, you could slow the tempo w-a-a-y down, allowing the ooey-gooey to eek its way down your throat.

You could speed up church services and slow down romance.

You could accelerate the interchanges you have with your children to confirm that you’re a good parent, and slow down the ending of the game, which finally, for a change, is actually close and interesting.

Maybe that’s the whole problem–life is too abattuta. Because when we try to relish moments, the clock frowns at us and continues its steady pursuit of strict formality.

Yes, clocks are like that. Still, I will search for a way to freeze moments so I can enjoy them even more as they thaw out. And I will hum songs and think happy thoughts to speed through those activities that are truly grueling and boring. Yet I know there will always be the abattuta to taunt me back to the mature notion of remaining in strict time.

I guess I never saw God as the conductor of an orchestra. To me, He’s more like the guy who plays the triangle. He lets the symphony ensue, but every once in a while, inserts his two-note passage that seems to make all the difference in the world.