Body Mapping

I recently attended a workshop on Vocal Techniques sponsored by my local chapter of National Pastoral Musicians (NPM). Using the Andover Body Mapping Technique, the presenter, Heather Buchanan gave us a new look on how our posture affects us when singing, playing the organ/instruments or directing. Body mapping refers to knowing your body and how the parts of your body move and interact as you sing/play your music. For more information on Body Mapping or to attend a workshop, check out these links:

The Andover Body Mapping Website: http://bodymap.org/

Heather Buchanan’s Body Mapping Website: http://bodymapping.net/

-Antonia

Shining Brightly

Just finished watching the movie Shine, an inspirational biopic of the Australian pianist David Helfgott. I was reminded of how this movie had encouraged me in my own music studies when I originally saw it in 1997. Mental breakdown aside, I can relate to David inasmuch as the struggle to fulfill one’s dreams while overcoming obstacles is a universal one.

During my original viewing of the movie I was most desirous of learning the “Nulla In Mundo Pax Sincera” by Vivaldi, that is featured in the developing relationship of David and his wife, Gillian. At the time, it was too advanced a piece for me to tackle, much like David’s father telling Mr. Rosen that young David wants to play the Rachmaninoff Piano Concerto No. 3. Now, having become more advanced in my musical studies and having acquired the skills necessary to master such a work, I am more motivated to take on the sacred aria as one of my new projects. Stay tuned for my progress in this regard.

Both the score and the soundtrack of the movie are very good. David Helfgott played many of the piano compositions himself, while David Hirshfelder captured the spirit of the movie with his score that blended classical music pieces with his own music. Among the classical pieces featured in the movie, David Helfgott himself played "La Campanella" from Violin Cencerto in B minor by Niccolò Paganini transcribed for piano by Franz Liszt, "Hungarian Rhapsody No 2 In C Sharp Minor" by Franz Liszt, "Flight Of The Bumble Bee" by Nikolai Rimsky-Korsakoff, arranged by Sergei Rachmaninoff, "Sospiro" by Franz Liszt, "Piano Concerto No 3 In D Minor, Opus 30" by Sergei Rachmaninoff and "Prelude In C Sharp Minor, Opus 3, No. 2" by Sergei Rachmaninoff.

I know that there is a great deal of controversy surrounding this movie regarding David’s life and his piano playing ability, but that is a subject for another time.

For a listing of other movies in this category check out my Movies About Music and Musicians page on my Music Classroom website.

More Liturgical Music Musings

To those of you who may have been put off by my "Liturgical Music Musings" post here is a little more fuel for the fire. In a 3-part article on the Cantica Nova website, Dr. Lucy E. Carroll shares her views on Musicians in Catholic Worship.

In another article, "Singing for the Supper or the Sacrifice?", Dr. Carroll discusses the various composers of Liturgical Music and the appropriateness of these songs for the Mass. Anita Moore, Esq., OPL also has articles to support this subject on her blog V for Victory.

One more tip that I left out of my original post is a tip for the congregation: DO NOT CLAP at the end of Mass for the musicians. This is not a performance and therefore it is not appropriate for you applaud.

Liturgical Music Musings

Why has the music in the Catholic Church gotten so out of hand? The musicians play and sing as if they were putting on a show at the local theater, with music that is written as if it belongs on Broadway, rather than leading the congregation in song in the solemn celebration that it is supposed to be. The music is so rhythmically complex and the melodies disjunctive and discordant that the people cannot and will not sing. As Liturgical Music Directors and Musicians we need to curb this trend and return to the guidelines set forth by Church Doctrine.

The Catechism of the Catholic Church describes the purpose of liturgical music to be prayerful, to include the participation of the congregation and to be mindful of the solemnity of the celebration.

The musician should be mindful of this as well. His or her role at the organ, or the cantor stand, should be to lead and guide the congregation in song. This is not a performance; facial expressions and body language are key in setting the proper tone for the solemnity of the Mass. The organist should keep in mind that HOW the organ is played should be taken into account.

In her blog post, Why I rant, Anita Moore, Esq., OPL says, “At Mass, we are literally at the foot of the Cross...So then, when it comes to deciding what is appropriate at Mass and what is not appropriate, all we really have to do is ask ourselves one question: would this be appropriate at the foot of the Cross?”

Below are my tips and suggestions for both the Liturgical Musician and Musical Director. These were put together after watching and listening to colleagues execute their duties as church musicians.

Tips for the Liturgical Musician:

• Mistakes are human; be sure to give yourself enough time to review and discuss the music with the organist/cantor before Mass.
• Knowing your music is very important. Review it, making notes and highlighting your trouble spots, thereby making practice more efficient.
• Regular attendance at rehearsals and practice on your own is crucial.
• You have to be comfortable in front of the people.
• Have a clear and consistent communication with the people.
• Articulation in your speaking and singing is vital.
• Be sure to have a straight posture that is both conducive to singing and shows command.
• The object is to lead the people, not to make it a performance.
• Facial expressions should be kept to a minimum and should be reverential.
• Gestures for inviting the people to sing should be clear and appropriate to the Mass.
• Play and sing the music like a prayer.
• Dynamics, when used correctly, help to make the music more like a prayer.
• The organist/pianist should support the cantors and the people; this is Mass, not a concert performance.

Tips for the Liturgical Musical Director:

• Know your Choral and Solo Voices:

• Children and teens tend to have very high-pitched voices that are frequently off key. While a children’s or teen choir is very nice, the cantor should be an adult with experience.

  Intonation and pitch problems will result when the voice has too much vibrato and starts to warble. Conversely, the voice without vibrato is not controlled.

  Encourage singers to use their head-voice, rather than belting with the chest-voice. Belting will result in intonation and pitch problems.

  Encourage your singers in the choir to listen to each other for blending and tuning.

• Know your instrumentalists

• No matter what the occasion, the instrumentalists should be aware that this is a Mass, not a performance.

  Make sure that the instrumentalists are playing in tune.

  The instruments (including the Organ) should not be too loud or overpower the singer(s).

• Select music that is friendly, not only to the musicians and singers, but to the people; they will close their books and mouths if the music is difficult.
• Make rules and ensure that your musicians and singers adhere to them.
• Encourage your musicians to attend rehearsals regularly. Do not play favorites; use your discretion when rewarding your musicians, based on talent and conformity to your rules