All-day singings & conventions

Santa Cruz all-day singing announced for July

The local singing in Santa Cruz has announced that they’re going to host an all-day singing this summer. From a recent email update sent by Ed Rice:

“In other news, we’re having a Santa Cruz all-day singing on July 12 from 10-4 at the Live Oak Grange. More details will emerge as that date gets closer.”

I’ve long thought that Northern California has needed more all-day singings. The next closest all-day singings are in Los Angeles, 8 hours away by car, or Portland, Oregon, which is 10 hours away. There are plenty of us singers who love all-day singings, but who don’t have the time or money to travel much. Plus, more all-day singings means new singers don’t have to wait as long to get the full Sacred Harp experience — which in turn would likely mean that more new folks would stick with Sacred Harp singing. Kudos to the Santa Cruz singers for helping fill this need!

Singing at home

Latest Golden Gate All-Day Singing info

I updated the Golden Gate All-Day Singing page, with latest info on the 2014 singing — PLUS — photos from 2010, 2012, and 2013 Golden Gate singings that I’ve never shared before. To check it out, click here.

All-day singings & conventions

Seattle convention, day 2

What makes for a really good convention? Good singing, good food, and good people — not necessarily in that order. The Seattle convention always seems to have all three of these things, and this year was even better than before.

Good singing: The Pacific Northwest has more than its share of fine singers, and you can count on most of them turning out for the Seattle convention. I feel there is something of a regional style in the Pacific Northwest, which could be characterized as loud but very tuneful, and a strong rhythmic drive without excessive emphasis on the first and third beats. Ornamentation is subtle or non-existent. Tempos vary widely, from fast to stately. I would call the tuning just intonation, with pure octaves and fifths, and sweet-sounding thirds with a distinct difference between major and minor thirds.

The overall impression is of a strongly rhythmic and sweet sound. Given how many Pacific Northwest singers also sing from the Christian Harmony and Cooper book (indeed, the Seattle area has the most important Cooper book singings outside the South), I wonder if singing from those books has some influence on the regional style. Regardless of the technical details, the sound is warm and full and loud, and thoroughly enjoyable.

Good food: Let’s start with at least three different kinds of pulled pork, including alder-smoked pulled pork. Now add a wide variety of casseroles, cooked greens, homemade bread and rolls, and many more dishes that I didn’t get a chance to sample. Finish off with blueberry pie, a dozen varieties of cookies, and really good coffee. Incredible food.

Good people: The Pacific Northwest singers are a really lovely bunch of people who have built up a culture of friendliness and hospitality that is hard to beat. They also seem to be really good at bringing along new singers, and welcoming younger singers. They somehow seem to maintain high musical standards without being judgmental. This kind of openness and hospitality fosters the kind of warm personal relationships that are so important for Sacred Harp singing.

At many Sacred Harp singings, you’ll see the occasional case of ruffled feathers, and one or two hissy fits. Maybe these things happen at the Seattle convention, but if so they’re not noticeable. The only thing I noticed is that some of the convention officers looked a little bit busy (and I may have noticed that only because I’ve been in that situation before) — given how big this year’s convention was, if all that happened was that they looked a little busy, that’s a major accomplishment.

Isaac Watts put it well when he wrote:

How pleasant ’tis to see
Kindred and friends agree,
Each in his proper station move,
And each fulfill his part,
With sympathizing heart,
In all the cares of life and love.

That’s a fine description of the Seattle convention. With such a warm singing culture, it was easy to be friendly, and to welcome newer singers. I felt fortunate to meet Devon and Ed, two newer singers, and Aubrey, a long-time singer from Canada. I enjoyed seeing old friends from the Pacific Northwest and elsewhere; and my only regret is that, with so many people at the convention, there were a couple dozen people I didn’t get to talk with.


Above: Every good singing needs at least one baby.

Some random moments from the convention:

— I went to church on Sunday morning, and kind of forgot where I was. During the doxology, I sang the bass part (not quite the same bass part as 49t) quite loudly, and realized that no one else was singing harmony, nor was anyone else singing as loudly as I. Fortunately, I was standing next to my cousin’s daughter, who has a fine loud soprano voice, so I didn’t feel too embarrassed. Then the first hymn was a gospel-y arrangement of “This Little Light of Mine,” and forgetting myself again I sang it in my best Cooper book voice; but again, no one else sang harmony. So I toned it down for the rest of the hymns. Back at the convention, I mentioned this to Cornelia from Portland, and she said she had noticed the same thing at her church (of a different denomination). I wondered aloud how we could bring better singing to our respective churches, and Cornelia said she thought it is something you have to do slowly, over time, to loosen people up and get them singing better.

— One favorite moment from the convention: On Saturday afternoon, I wound up in the back bench of the bass section. There were perhaps thirty basses in front of me, and I was sitting between two very fine bass singers, Jordan and Jerry. It was an amazing sound, and I could feel my whole body vibrating, from the resonant chambers in my head through my chest and even down into my legs.

— Another favorite moment: In the last session on Sunday afternoon, I wound up sitting in one of my favorite spots: partway back in the bass section, right next to the altos. And oh, how fabulous those altos sounded. I know we need the tenors and trebles, but when I’m sitting in between a really good bass section and a really good alto section, there are moments when I believe we can do without the higher voices.


Above: A singer from Bremen, Germany (unfortunately I didn’t get her name) leading on Saturday.

And finally, a few facts and figures: There were over 180 singers in attendance over the two days of the convention, representing three foreign countries (Germany, Norway, and at least two provinces in Canada), and at least half a dozen U.S. states (Washington, Oregon, California, Utah, Ohio, Georgia). Over 180 songs led.

All-day singings & conventions

Seattle convention, day one

A quick summary of day one of the Seattle convention:— More people this year, from as far away as Bremen, Germany. The singing has been very good indeed; when I got to lead today, the sound in the middle of the hollow square was powerful and resonant. And best of all, the Seattle singers are so friendly, and the food is so very good.

Seattle convention, day one

(Above) This will give you an idea of the size of the class. Lindy, from the San Francisco Bay area, is leading.

Seattle convention, day one

(Above) Here’s the view of the class from the bass section. Ed, a new singer, assisted by Jerry, leading no. 56.

Singing at home

Singing again

AFter a month away from singing due to bronchitis and laryngitis, I was finally able to sing again this week. And what better way to get back into singing than with the Palo Alto singers.

The Palo Alto local singing has been getting really good recently. Some of these folks have been singing together for years and years, which means that the singing starts off with an advantage. But mostly it just seems like the singing is going well; every singing group goes through its ups and downs, and the Palo Alto singing seems to be going up at the moment.

What I especially like about the Palo Alto singing is the excellent intonation. When we’re singing, I can often feel the overtones from the good intonation vibrating in my chest and head. Why has our intonation gotten so good? Perhaps it’s because we have been leading tunes at somewhat more moderate tempos; perhaps it’s because we’ve been singing more than just a couple of verses of each tune, which gives us times to get the intonation exactly right. Mostly, though, I think it’s because we’re relaxed and we take the time to listen to each other. Good intonation requires good listening — you can get the rhythm by watching the leader, you can get the melody by looking at the book, but the only way to be in tune is to listen to the other singers.

We had two new singers today, and I don’t know what it felt like to them, but to my ears they both sounded great right from the start. Now both of them have done lots of other kinds of singing, so they were starting from a relatively high level; but it’s also true that it’s much easier to sing if the group you’re singing with is in tune and in rhythm with each other.

Even though I was still struggling a little on the higher notes — my voice hasn’t quite recovered from the bronchitis, I guess — it felt really good to sing today. It’s amazing what eleven good singers can do inside a room with wood walls and ceiling: I got carried away by the waves of sound.