Categories
Online singing

Jamulus singing

Bay Area Jamulus singings from the Denson book were initially scheduled for the first and third Wednesdays. The BASH Board decided we’d sing from the Shenandoah Harmony on fifth Wednesdays.

Jerry came prepared with a list of tunes he wanted to sing — most of which were by First New England School composers like Abraham Wood , Jeremiah Ingalls, and Billings. I love First New England School music, so I was a happy camper. (Also, while the Shenandoah Harmony, like any collection, contains a fair number of duds, I feel that the editors did their best work with the 18th century music.)

Most of us were seeing all this music for the first time, and sight-singing together on Jamulus was a bit challenging. We finally got into a pattern that worked: whoever was leading the tune would count in two full measures at their preferred tempo. It was a forgiving group, and everyone was ready to start over if started to sound like a train wreck. Singing on Jamulus forces you to really listen to the other parts — you can’t fall back on watching someone keeping tempo, or pointing to you to bring in your part. That there were only seven singers probably helped with our sight-singing; Jamulus can sound a little chaotic until you adjust the volume of each individual singer, and with only seven singers adjusting volume was easy.

I feel that singing on Jamulus revealed something of the “singability” of the compositions. First New England School music can be challenging, but it is eminently singable: the music fits comfortably to singers’ voices; Johann Fux would have approved. Some of the recent compositions, while good as music, feel less singable to me; but this isn’t a hard and fast rule, for when we sang Neely Bruce’s 1990 tune Millbrook, I felt the bass part (at least) was quite singable.

For the last half hour, we switched back to the Denson book, and sang some familiar tunes. It was tiring to sight-sing for an hour and a half, and it was good to end with music we all knew well.

All in all, this was a good singing. There were the usual technical problems: Mark got kicked off the session and couldn’t rejoin; Carla tried to log in and wasn’t able to. But overall, a good two hours of music-making.

Categories
Online singing

BASH Zoom singing

When we were singing in person, pre-pandemic, we used to say, “That was a good singing”; by which we meant, the singing was heartfelt, there were strong leaders, the selection of tunes was sensitive to the singers. So what criteria do we use to judge a Zoom singing, where mostly we listen to a recording and sing along?

Pat challenged us tonight by pointing out that in other Zoom Sacred Harp singings, most of the songs are led by someone in the group singing their part as a solo. Traditionally, if you lead a Sacred Harp tune, you’re supposed to sing tenor, but Pat said that is not true in Zoom singings. He went on to add that singing along to something other than the tenor part has been a way for him to better hear how his part (he sings tenor) meshes with another individual voice.

A couple of our singers took Pat’s challenge, and led tunes by singing their part solo. I was especially impressed with Lena’s singing: it was heartfelt, it was easy to follow her while singing my part, and the tune she chose was sensitive to the other singers. On that basis, I can say that tonight’s singing was indeed a good singing.

Categories
Online singing

Jamulus singing

My work schedule finally allowed me to join the regular twice-monthly Bay Area Sacred Harp Jamulus singing.

There were about 15 log-ins, and three of those log-ins had more than one person singing. So we may have had twenty total humans singing together. We had one singer log in from Kansas, and his total latency as reported in Jamulus was about 74 ms; I did not notice that he slowed us down. Another singer logged in from San Diego, and I’m not sure what his latency was. But most of us had latencies in the range of 30-50 ms. This tended to keep tempos slower than usual.

Singing using Jamulus is getting easier. I’ve gotten used to the lack of visual cues; it’s still annoying, but it’s no longer disconcerting. I’m better able to judge how to stay on tempo: it’s a fine line to walk because on the one hand you need to have rock-solid time and stick with that time no matter what, but you also have to listen carefully in case the overall group is slowing down, in which case you have to adjust your internal metronome.

However, I still get tripped up by things. For example, this time I thought I was watching my volume level on the Jamulus controls, but at one point when I had to look down at the music, I unconsciously raised my volume enough to push my audio feed into the red zone. Jamulus has no room for error — you go into the red zone, your audio feed sounds horrible, and all the other singers have to mute you. I adjusted my mic volume down, and that solved the problem. And it wasn’t just me — another singer had the same problem.

I also wonder what will happen when we try music we don’t know well. So far, we’ve been sticking to tunes that all of us know well. When we start learning new tunes, for example some of the new music in the Shenandoah Harmony, will it just turn into chaos?

Nevertheless, singing with other people in real time — even in not in person — was enormously uplifting. The pandemic can really get you down, and this singing was a good antidote to that.

Categories
All-day singings & conventions

70b Save Mighty Lord

One last video from old footage I found. Here’s Wren leading 70b Save Mighty Lord from the 1991 Denson edition of The Sacred Harp, at the 5th annual Palo Alto All Day Singing, August 26, 2017. Temps were well above 90 in the room, so you’ll hear some fan noise. You’ll also get to hear some of Steve Helwig’s trademark humor (if you didn’t know Steve, he’s the one on the front tenor bench who’s pitching).

Categories
All-day singings & conventions Online singing

Palo Alto All Day, online version

This would have been the weekend of the annual Palo Alto All Day singing. We decided to hold a two hour online version yesterday, with two times for socializing in breakout rooms (do we call those recesses? or what?). The best part for me was the chance to talk with singers I haven’t seen for too many months.

Terry M. kept minutes (if you can keep minutes for an online singing). Here they are:

Jeannette Ralston 46; Dan Harper 38b; Marci Cutler 65; Leigh Cooper 189; Ginny Landgraf 378b; Peter Ross 122; Julia Smith 159; Kate Fine 187; Esther ? 214; Constance BoneĀ 261t (CH); Erin Fulton 172; Ann Riley 383; James Solheim 318; Clarissa Fetrow 154; Pat Coghlan 272; Aisha Morgan 495; Marci Cutler 140b (ShH); Jeannette Ralston 264b (ShH); Jenny Solheim 421; Don Fasolaman 77b; Ginny Landgraf 254 (ShH); Melissa Stevenson 179; Sue Lindner 216; Bonnie Stimler 384; Bonnie Stimler 454; ? ? 521; Memorial lesson; Dan Harper 347.

Categories
All-day singings & conventions

278b Traveling Pilgrim

Another video from old previously unedited video footage I found. Here’s Ed leading 278b Traveling Pilgrim from the 1991 Denson edition of The Sacred Harp, at the 5th annual Palo Alto All Day Singing, August 27, 2016:

Categories
All-day singings & conventions

229 Irwinton

I found some old unedited video footage of past Palo Alto All Day singings. Here’s Chris leading 229 Irwinton from the 1991 Denson edition of The Sacred Harp, at the 5th annual Palo Alto All Day Singing, August 27, 2016:

Categories
Online singing

Zoom singing

A good singing, and well attended. I think there were something like 25 total log-ins.

We continued with the usual format: people post their choice of tunes in chat, Lena goes down the list one by one, Leigh uses the web app Mark developed to find an appropriate field recording, and when it’s time to sing Lena mutes everyone so that you only hear the field recording. One or two singers led their own tunes, singing the tenor (melody) line, instead of relying on a field recording.

An interesting feature of this month’s singing is that some people who just discovered Sacred Harp joined the Zoom singing. During the break, I assigned them to breakout rooms with a couple of experienced singers to answer any questions they might have had. These new singers stuck with us for the whole session, but I wonder how it was for them. The rest of us know what it sounds like when you’re in the middle of a live singing; we learned with the support of other singers in our part; but these new singers have none of that. I hope they decide to come back.

Categories
Online singing

Another Jamulus singing

One challenge with Jamulus is reducing latency, and in some major metropolitan areas (like the Bay Area), you can have a great deal of latency to singers who live close to you, even if you both have good fast Internet service. Because if the packets have to travel up to a Tier 2 network, then up to a Tier 1 network, then back down to a Tier 2 network, and further down, it’s going to take a while — and the Bay Area has so much Internet traffic from small users up to really big users that things are just going to get slow at times.

In online forums, I came across one way to reduce the potential latency for all singers: host your Jamulus server in the cloud. The idea is to host your server on something like Amazon Web services that has a data center near you.

So Mark, one of our Bay Area singers who’s also a software engineer, set up a Jamulus server for us on AWS’s norther California data center. We tested it this afternoon with four log-ins totaling five singers, and the latency was better than I’ve experienced using Jamulus servers that are hosted locally in Palo Alto or Mountain View.

Not to say the latency was low. I probably had the highest latency, ranging from about 60-70 ms to 40-50 ms by the end of the session. This was counter-intuitive, because although the location of the AWS server is a Big Secret we sort of know where it is, and I was probably physically closer to it than anyone else in the session. Cyprian, who joined us from the North Bay, had better latency than I did, though he was probably 75 miles farther away. Also of interest: Adam joined briefly from Seattle, and his latency was about the same as mine.

Because of the latency, we had to keep the tempos slow. Then we often let the tempo slow down while singing a tune. And once or twice a tune just turned into chaos.

Nevertheless, it was so good to sing with other people in real time that all the frustrations were worth it. I hadn’t realized how much I missed singing in four part harmony.

I had to go back to work, and only stayed in the session for an hour. But it was good enough that I’m looking forward to doing it again.

Categories
Online singing

Jamulus singing

David set up a Jamulus server at his house in Berkeley, and we both logged on this afternoon to try it out. The latency was perhaps a little high, and it was strange at first singing without being able to see David leading, but we got used to it pretty quickly.

We sang a couple of tunes, then noticed that someone had dropped in to listen. We wound up chatting with Rob from Rancho Cucamonga. A trained musician and a guitarist, he was interested to hear us singing solfege; he’s just discovering Jamulus and was listening to different sessions to get a feel for it. It was sort of like when you’re singing Sacred Harp in person, and someone hears you and comes in out of curiosity. This could be a side benefit to singing on Jamulus!

David and I sang a few more tunes, then we both had to go. While it’s not the same as singing in person, it was really good to be able to sing together with another person in real time — it was also really good to be able to sing with David once again, who is a really good singer.