Why Music?

Why music?

Because it is all I know how to do.

Why music?

Because at the end of the day, I have nothing but a song.

Why music?

Because that’s what I was created to do.

Why music?

Because it is able to covey the words I would otherwise have to keep bottled up.

Why music?

Because when I am sad, music helps me cope with my grief. When I am angry, music serves as an outlet for my frustrations. When I am happy, music speaks my joy to the world. When I am afraid, music gives me strength to face trials.

Why music?

Because music allows me to portray another person, if only for a limited period of time.

Why music?

Because music also allows us to discover different sides of ourselves. Self exploration is the key to advancement.

Why music?

Because music is the most pure human art. It is what gives me life. It is what has kept me going in difficult times.

Why music?

Because music helps us express our individuality.

Why music?

Because sometimes we just need a little bit of weirdness in our lives.

Why music?

Because we need to laugh and cry together.

Why music?

Because a broken soul can be healed through the power of a song.

Why music?

Because music helps us cope with loss.

Why music?

Because music can alter a life in a matter of moments.

Why music?

Because music binds us all together.

Why music?

Because we need to communicate with each other and music is the universal language.

Why music?

Because we need to communicate with a higher power and music is an ethereal language.

Why music?

Because children need to learn and music is one of the most inborn aspects of humanity.

Why music?

Because parents need to sing their children to sleep. The comforting sound of a lullaby provides a sense of safety for an infant.

Why music?

Because music helps us remember where we came from and how we have progressed as a species. Music documents this and keeps history intact by way of mouth and ear.

Why music?

Because music is unstoppable. Music isn’t going anywhere anytime soon.

Does that answer the question?

Starting the Conversation

What to do with you? I think that is the question on any competition judge’s mind any time I walk into the room to sing. When I open my mouth it isn’t always the sound they expect. Many more questions flood the judges’ minds.

What to do with you?

What to do with a mezzo-soprano singing in the men’s division of this competition?

How do you judge this voice that is so vastly different than the rest that we’ve heard in the past few auditions?

Countertenors cause massive headaches in the competitive singing world, and even seasoned judges are unsure of how to properly handle such a voice when it is presented to them. This has created a sort of dilemma. Where do countertenors fit into any of this? Do they compete with tenors, baritones and basses because they are men as well, or do they move to the female divisions because they are singing similar repertoire and in the same register?

I feel that this dilemma has been avoided for far too long. It has led to confusion amongst professional voice teachers and potential for bias against countertenors.

I’m not claiming this is what has happened to me in the past, because I really cannot ever know what was on a judge’s mind. Moreover, I do not have the answers to the problems, I just think somebody has to get the conversation started. Once the conversation starts about how to handle and judge a countertenor voice, then the answers shall be made clear to singers and teachers.

Similar criterion should be used when critiquing ANY voice:

Is the singer singing in tune?

Are the correct rhythms and pitches being sung?

How musically is the singer singing?

Is this voice technically sound and at the proper maturity level for this singer’s age?

Simple standards such as these should serve as a guide when looking at any voice, including the countertenor voice. The biggest problem comes when looking at categorization of the countertenor voice. That’s what needs attention from the musical community. The discussion needs to commence and solutions need to be reached.

I feel I cannot sit idly by, allowing this general confusion and ignorance to continue. Somebody has to work this out and figure out what to do with me.

Music in Worship

I think music can play a vital part in worship services. For me, however, music in church is not always my preferred form of worship. I have had moments of worship in which music was the primary player, but I have found that moments of quiet in solitude allow me to connect deeply with God. Music in churches nowadays is extremely loud and often without much substance or depth, so I find that it is in moments of quiet meditation I am able to worship deeply.

Now, all of this is not to discredit music’s part in worship, nor am I saying that music has never impacted me in a worship setting, as it certainly has.

The singular instance that sticks out in my mind is a Christmas Eve service when I was about 13 years-old. During the service an older woman was to sing “O Holy Night”. I can say without a doubt it was one of the purest renditions of the song I’ve ever heard. The woman’s light voice had a slight warble to it but the song seemed absolutely perfect.

I think moments when I am onstage performing I also am partaking in some worship, but on my own in the quiet I am closest to God is when I feel it most.

Practical Usage

When I started writing this blog post I realized how much I have to do. I realized how music students have a significant amount of work to accomplish in a brief amount of time. A large portion of this work stems from applied lessons. Music for private lessons can be difficult to master, but utilizing music theory as a tool can help in the process. Breaking down each song measure by measure and analyzing the chordal structure of the piece gives the performer a deeper understanding of the material they are learning. I utilize Roman numeral analysis to determine the key for a certain section of a piece and that helps me to learn my music more thoroughly.

I my piano lesson recently I also used a chord flow chart in my head to mentally prepare myself to sightread music that I was unfamiliar with. I was surprised at how well I played a piece which I had not played before. I was able to think ahead and successfully play the whole piece.

Theory has also come in handy as a foundation for my songwriting. I know basic songwriting principles and utilize them to create beautiful music.

Yay theory!

Writer’s Block

I can’t seem to come up with a satisfactory topic for this blog, and that has sparked an idea in my brain. I will write about writer’s block!!

Lately, I have been writing music as a creative outlet, but I always begin songs and leave them to sit because I can’t seem elaborate upon the small idea in my head. I sit down at the computer and just get stuck.

I have some songs that I’ve written all of the music to, some songs that only a small line has been written for, and then some songs that are only tiny blueprints in my head.

When writing, I try to draw from personal experience, but then somehow the songs all end up sounding sad. I don’t particularly mind writing sad songs, but I do mind that sometimes that’s all I’m capable of writing.  Once a song I produce ends up sounding sad, I just stop writing. It almost feels impossible to write happy, upbeat music. This makes me sound terribly depressed, but in all honesty I think I might just naturally lean towards writing melancholy songs.

Some of my incomplete songs are the result of interruption of my creative process. I just get bogged down with little responsibilities that prevent me from putting my immediate thoughts onto the staff.

I’m not saying that I’ve never completed a song; I’ve completed quite a few lately. I’m honestly just saying I wish my musical output was a bit larger. I wish I had the time and complete ability to create music that reflects my life.

On the Daily

My blogs are usually a bit wordy, but I feel the need to be as straightforward as possible, so I shan’t beat around the bush.

Music is to be used daily in all lives. Plain and simple.

As I quoted in my previous Biblical blog post:

“The Lord will save me, and we will sing with stringed instruments all the days of our lives in the temple of our Lord” -Isaiah 38:20

This scripture is quite clear. The key words that say that music belongs in daily life are “..ALL THE DAYS OF OUR LIVES…”

On the subject of what kind of music to utilize daily I feel that Ephesians 4:29 has good insight. 

“29 Do not let any unwholesome talk come out of your mouths, but only what is helpful for building others up according to their needs, that it may benefit those who listen.”

The Bible quite clear to me on this subject. Any thing that is wholesome and worthwhile is good to listen to.

Colleagues, Friends, and the like

“Forget it…It’ll never work”-Roxie

“Why not?”-Velma

“‘Cause I hate you.”-Roxie

“There’s only one business in the world where that’s no problem at all.”-Velma

 

This conversation takes place between Roxie Hart and Velma Kelly at the end of “Chicago.” The two are discussing working together on a Vaudeville show, but Roxie attempts to shoot the idea down. Velma insists that their disdain for one another is a non-factor in the world of show business.

I agree with this statement whole-heartedly, and have seen it firsthand onstage. Oft, my fellow performers I dislike most are those I cooperate with best onstage. Even though as of late I’ve had a hard time seeing this in UMHB performances, I have worked with performers in the past that I would not consider my friends, yet I had no problem interacting with them in a show.

Both recently and in the past, there have been those performers whom I consider friends with whom I prefer not to act with. My senior year of high school I had a scene in a show with one of my best friends, but they couldn’t get it right ever.

Performers I don’t care for much are often some of my favorites to collaborate with. My final two years of high school shows, I wasn’t terribly friendly with most of the leading cast, yet those are the shows I had the most incredible time doing in my four years.

The simple fact is that there often needs to be a line drawn between friends and fellow performers. There are those few close friends who I’d act opposite any day at anytime, but at the same time people who I dislike who are also a joy to work with. On the other hand, many of my friends in the performing world are not those I would choose to work with me in a show. Sometimes working with strictly colleagues is more rewarding.

Lalala

The Show Must go on….

Every performer understands that there is no such thing as a perfect live performance. No matter how much you prepare, there will be slip-ups. Also understood is that the show must always move forward; it must go on. You cannot remedy the situation and rewind to fix your mistake. You just have to keep on going.

This past Friday, I was performing Pinocchio for the final time with Opera Cru. It was the final number in my first scene, and I am supposed to perform a few ballet style leaps and landings. On one of the final landings something went awry. I landed and my left leg was taken out from under me. I had dislocated my knee and began falling to the ground. I shook a little bit on the ground to get my knee back in place and a slew of thoughts flew through my brain.

“I could stop the show right now and get them to take me to the hospital”

“I could get up and walk off stage”

“I could just stay here on the ground”

etcetera

I knew that I had to play it off as meaning to fall. I decided to play dead, instead of finishing all of the choreographed movements. 

Nothing can stop a live performance, barring death.

A Change is gonna come

If any of you have been around me lately, you know that not everything is quite how it used to be.

I’ve not had an easy semester thus far. My brain has been going a million miles an hour in about 14 different directions.  I fully expected this when the year started, but there was one specific thing I didn’t expect to be a completely new direction.

I figured my voice would continue on a good path, that I’d grow and see my voice mature smoothly. Unfortunately I kept hitting roadblocks, and getting in my own way. I couldn’t do anything right. High notes were strained, and tension was intense in both my tongue and jaw. I just wasn’t singing well at all.

Then, an identity crisis. I was suddenly switched to baritone from tenor. Any songs that could be easily transposed to a baritone key were taken down. I was in a panic.

But I didn’t know panic until about four hours later; Mr. Hogan texted me asking to hear my “soprano voice”. I sort of thought he was kidding, but as it turned out he was completely serious. He asked me to explain what my upper register sounded like, and about the range of my head voice. He told me that he needed to hear it to determine the quality, and that if it had enough to it, that I’d begin work as a countertenor.

At this point I felt sick.

I suddenly had no clue who I was.

What was happening?

I was scared.

Fortunately, for my mind’s sake, this whole countertenor thing worked itself out. I suddenly found myself improving quicker and quicker. But I faced a daunting task: it was halfway through the semester and I had become a mezzo-soprano countertenor and had six brand new songs. In terms of scheduling at this point, I was already supposed to have half of my repertoire memorized and I had just started learning it. Buckled down and determined, I learned my songs.

October 18th rolled around and it was time for midterm juries. I was also singing on performance lab that day. That was the day I was going to show my peers and everyone else what I was made of.

My countertenor voice was met with mature response from fellow students, with only a few audible snickers. I was disappointed to hear about certain friends, who I thought would be more mature, laughing during my performance. Nonetheless, I felt satisfied and with that day’s ending I felt a huge weight off of my shoulders.

I leave you all with this.

“Look at me

I am changing, trying every way I can.
I am changing, I’ll be better than I am.
I’m trying to find a way to understand.
But I need you, I need you, I need a hand.I am changing, seeing everything so clear.

I am changing, I’m gonna start right now, right here.

I’m hoping to work it out and I know that I can.

But I need you, I need a hand.All of my life, I’ve been a fool.
Who said I can do it all alone.
How many good friends have I already lost?
And how many dark nights have I known?
Walking down that wrong road, there was nothing I could find.
All those years of darkness can make a person blind.
But now I can see…

I am changing, trying every way I can.
I am changing, I’ll be better than I am.
But I need a friend, to help me start all over again.Oh, That would be just fine.
I know it’s gonna work out this time.
Cuz this time I am, this time…I…amI am changing, I’ll get my life together now.
I am changing, yes, I know how.
I’m gonna start again.
I’m gonna leave my past behind.
I’ll change my life.
I’ll make a vow.
Nothings gonna stop me now”

Dreamgirls

http://www.youtube.com/watch?v=sYFzORb-DHg

 

Thank you to everyone who has helped me get to where I am right now.

Thank you all for being supportive and encouraging.

You know who you are.

Matthew

“The Last Resort”- MUSI1332 Blog Post #2

“The Last Resort” by The Eagles is a simply written song with more complex and deep lyrics. The chord progressions are simple during the verse (I-IV-V-I) but between verses there are more down and depressed chords. Using I chords and minor vi chords and even throwing in vi augmented chords to give a dissonant sound. The sounds, though major, all sound depressing and pensive. The chords used are primarily major but do not always sound so. This gives the song a sort of sound that indicates a loss of hope. Passing tones are used in the melody, and are perhaps the most striking.

But perhaps the most striking thing about the song is the lyrics and the deep meaning. The song seems to be a critique of the hopes and faith in the American Dream. People pack up all of their things and eventually in looking for a good time become burnt out. 

“And they call it paradise, I don’t know why.”

This lyric speaks volumes.

I’m not entirely sure of any implications of Christianity, while there are mentions of Jesus and God. I believe “Who will provide for the grand design?” could potentially be discussing God’s will.

“And you can see them there, 
On Sunday morning 
They stand up and sing about 
what it’s like up there 
They call it paradise 
I don’t know why 
You call someplace paradise, 
kiss it goodbye.”

I think this lyric discusses our mortality on earth, even though we make such permanent investments.

These are my intelligent thoughts.

mattymanchi