Betty has completed the minutes for the Palo Alto All-Day Singing, and I posted them on this Web site here.
Once again this year, the third annual Palo Alto All-day Singing was a pleasant low-key friendly singing. Sure, I like the excitement of big singings and conventions. But I also like the singings with forty or so people, because in the course of the day you can actually get to talk with everyone. And the Palo Alto church lends itself well to socializing.
We had about 42 adults and 8 kids. We think of this mostly as a regional singing, and we had people from the following local singings: Fresno, Davis, Santa Cruz, San Francisco, Berkeley, and Palo Alto. Even though this singing is aimed at those of us in Northern California who have a hard time traveling to other all-day singings, we always welcome a few out-of-town singers, and we were pleased to welcome southern California singers, a New Yorker and a Pennsylvanian. We also had a Polish singer, a musicologist who is spending a year at Stanford, and I felt pleased that I could introduce him to an anthropologist who has done some study of Sacred Harp, and a folklorist/performer.
We sang something like 93 songs, with two song lessons in the morning, and one song lessons in the afternoon. (This is another benefit of a small singing — you get to lead more tunes!) We had a couple of new singers, and at least one singer who’s been singing since the 1960s (though I think she started with the Christian Harmony).
Here are some photos of the day:
Above: Jeff leading in the morning. We had a really good bass section today, and you can see many of them in this photo.
Above: Linda, one of my favorite leaders, as seen from the bass section.
Above: Dinner-on-the-grounds outdoors on the patio, in perfect Northern California summer weather. Just out of the frame to the left is little Cecil, who, though not quite three years old, is already learning how to beat time while saying “Fa, fa, fa, fa, fa….”
Above: Chris Thorman, our chaplain, leading a tune. One of the highlights of the day for me were Chris’s prayers: very much in the Sacred harp tradition, they warmed my soul.
A little before ten this morning, Carol dropped me off at Big Creek Primitive Baptist Church in Alpharetta, Georgia. The church has been engulfed by upscale suburban sprawl — office parks, gated communities, tasteful shopping malls, impeccably maintained four-lane roads — but once you get on the church grounds, you enter into a different cultural landscape. The church, a plain and attractive brick building, is surrounded on two sides by moss-covered gravel parking areas shaded by trees; quite a few cars were already nestled in shady parking spots. Behind the church was a cemetery with quite a few older gravestones, and some gravestones that looked very new.
Above: Big Creek Primitive Baptist Church, Alpharetta, Ga.
Inside, the church was quite plain, as you’d expect in a Primitive Baptist Church: little ornamentation, plain white walls, simple but attractive pews — and no musical instruments. Fifty or so singers were gathered up at the front of the church. I went to sit in the bass section, and noticed that in the hymnal racks on the backs of the pews were hymnals, Bibles, and fans in case it got too hot. I opened up my copy of The Sacred Harp, and got ready to sing.
The singing, the 146th session of the annual Union Musical Sacred Harp Singing Convention, belonged to this other cultural landscape, removed from the gated communities and office parks. It’s music that’s meant to be performed and shared, not consumed; it’s a democratic musical tradition where everyone sings, and anyone can lead a tune if they want to. The singing rose up into that plain white sun-washed church, loud and triumphant. It had that old-time lonesome sound that lets you know that in spite of all the sorrow and troubles we face, God is in heaven and all is right with the world.
Above: View from the bass section, 146th session of the Union Musical Sacred Harp Singing Convention
A seven year old girl got up to lead “Africa,” an old Isaac Watts hymn — a hymn seems to me to express a Universalist theology of hope and assurance — set to music by William Billings in the late eighteenth century. Between the words to the hymn and that self-possessed girl leading the other singers so well, I got a little choked up and couldn’t sing for a bit, and maybe there were some tears running down my cheeks.
Lunch was served in the time-honored custom of dinner-on-the-grounds. There was a small kitchen building behind the church. Extending from that was a long table, perhaps fifty feet long, built on concrete blocks. Everyone who had brought food to share laid it out on this long table. Over the table was a roof to keep the sun and rain showers off, and between the posts holding up the roof were boards set at a height where you could put your plate while you stood and ate and talked with everyone around you. The woods stood near at hand, and some people from the church instructed us to through any food that was left on our plates out to the varmints in the woods.
Carol had come to the singing by now, and we got our dinners: ham, pulled pork, collard greens, fried okra, perfectly ripe cantaloupe, broccoli casserole, and some of the best layer cake I’ve ever eaten. We stood and ate and talked. I talked with Henry from Alabama, with whom I talked universalist theology. I talked with Nathan, an art historian who’s moving to North Dakota, who specializes in spiritual painters in the southwestern U.S. in the early 20th century. We talked with Shawn and Natalie, who live in Melbourne, Australia, and who sing Sacred harp there. I can’t remember who all we talked with.
The singing was just as good in the afternoon session, in not a little better. During the afternoon break, I got involved in a brief and somewhat technical discussion with a couple of fourth- or fifth- or maybe sixth-generation Sacred Harp singers on the proper tempo for “David’s Lamentation,” a William Billings composition. The piece has become a standard in the repertoire of college choirs, where it is often sung at a slow tempo, and apparently some people have tried leading it slowly at Sacred Harp singings. But the three of us all agreed it should be led at a fast pace, which is both the traditional way to sing it in the South (and not coincidentally, the way Billings clearly preferred it to be sung).
The singing ended. Jeff offered to give me a ride back to the motel. We pulled out of the parking lot, leaving behind a cultural landscape devoted to shared experience, democratic traditions, and matters of the spirit, and re-entered a cultural landscape dominated by consumption and competition.
Crossposted from here.
In brief: 94 tunes, 72 leaders, about 115 registered singers from 8 states and two countries (the United States and the United Kingdom).
But was it a good singing?
The new singing space, Trinity Lutheran Church in Alameda, was wonderful. Now Bay Area Sacred Harp singers can have strong opinions about singing spaces, so there may be negative opinions out there — but I’ll be opinionated, too, and say that negative opinions are wrong. The singing space sounded good: a bright yet warm sound. The grounds of the church are beautiful, so there were lots of nice places to eat dinner outside. The space was big enough to hold all the singers we had today, with room for expansion if we return there next year (last year’s space was just plain overcrowded) — and it was accessible to people with mobility issues. Finally, there was a great kitchen with an industrial quality dishwasher, which made clean-up much easier for those of us on the kitchen committee.
We had a good-sized contingent of singers come down from Washington and Oregon, as well as a good-sized contingent of singers from southern California — visitors are always welcome, but these were especially good voices and especially nice people. We also had lots of fine local singers — regulars from the practice singings in Berkeley, Davis, Palo Alto, San Francisco, and Santa Cruz, and lots of other northern California singers.
Carol and I were the kitchen committee, and I’ve decided that this is just about my favorite job at an all-day singing. What’s not to like about being on the kitchen committee? — you get to lay out all this really good food (and scope out what the best dishes are), you get to clean up afterwards, and during peak allergy season I just don’t want to sing for six hours anyway. Miranda, who is 11, joined the kitchen committee to help us set out the food. Linda from Fresno joined Miranda and I after dinner, doing clean-up in the kitchen, and we all had fun. Miranda and I ran the industrial quality dishwasher (with a 90-second cycle!), and we both had a lot of fun, even though we each got a little wet from the high-pressure dish sprayer.
So yes — it was a good singing.
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!
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.
(Above) This will give you an idea of the size of the class. Lindy, from the San Francisco Bay area, is leading.
(Above) Here’s the view of the class from the bass section. Ed, a new singer, assisted by Jerry, leading no. 56.
The second annual Dominic Ciavonne Ziegler Memorial Singing took place today. More than forty of us gathered in the Felta Schoolhouse in Healdsburg, California, and sang for five or six hours, with an hour break for dinner in the middle of the day. An all-day singing is a great way to start the year!
Since this was a singing in memory of Dominic, a young singer who died just two years ago at age 23, I was glad that someone led 448b, the one tune Dominic is listed as leading in one of the Minutes Books (at the 2010 Golden Gate All-day Singing). It was also good to see Dominic’s parents, his brother, and several of his relatives, as well as a lot of the singers who had known him through the Berkeley weekly singing. It was also nice to see a range of ages from a baby to people in their seventies — that wide range of ages felt good at a memorial singing.
I thought it was a particularly good singing: like the best of Bay Area singings, it was loud, fast, and joyous. The pitching tended to be fairly high, even by Bay Area standards — some of the tunes felt to me as though they were pitched at or above written pitch — but the higher pitches sounded good in that room, and our intonation stayed generally true even at those high pitches. The tempos, as you’d expect at a Bay Area singing, were fast. The overall effect was joyous.
The Healdsburg Sacred Harp community is a nice group of singers, with a well-deserved reputation for being relaxed and welcoming. I saw that in action today: one of the basses was singing Sacred Harp for the first time today, and we pushed him up to the front bench, and surrounded him with experienced singers, to make sure he would find it easy to get started. That kind of thing was repeated over and over again, little welcoming kindnesses that are so characteristic of the Healdsburg singers. And, thinking back, that’s just the kind of singer Dominic was — he was friendly and welcoming, and invited lots of new folks to come check out Sacred Harp singing.
At the end of today’s singing, the secretary reported that we had more than 40 leaders from four states (California, Massachusetts, New York, and Texas), who led at least 88 tunes. Dinner on the grounds was excellent. It was a lovely small singing with a nice family feel to it — a fitting memorial for a fine tenor singer.
Phil invited singers to stop by his new house in Sebastapol on their way home, and several of us did — there’s one room in the house that he thought would be good for singing, and he wanted to try it out. We sang three tunes in that room, and it really was a fabulous singing space. Let’s hope Phil hosts some singings up there sometime soon.
A quick post on the Palo Alto All-day Singing before I head off to the Saturday night social. We had 57 singers, and we sang 93 tunes. Carol and I were in charge of the kitchen this year, my new favorite all-day singing job. I for got to take any photos, but Carol remembered. Here are some of her photos of people lining up for dinner:
The last of the videos from the recent Golden Gate All-Day Singing, held on Saturday, April 27, 2013, at the Potrero Hill Neighborhood House in San Francisco. Various problems kept me from getting videos of every leader (this is what happens when you set the video camera up and walk away; you’re not aware when problems happen), but I did get reasonably good footage of 41 leaders.
These final videos are of Lindy leading 426b Jasper; Susan leading 168 Cowper; Terry M. leading 84 Amsterdam; Inder (accompanied by baby Maggie) leading 131t Messiah; and Carl leading 128 The Promised Land. Finally, to close out these videos, I’ve included the closing prayer, given by Linda S.
These videos are all from the last session of the day, when you’d expect the singers to be tired and not sounding quite as good — but as it turns out, these videos capture some of the best singing of the day. The leaders are all from the Bay area, and they all chose tunes that the local singers would know well. If you want to hear Bay area singers at their best, listen to Carl leading 128 The Promised Land — the class sings fast and loud, with strong tenors, powerful basses, piercing altos, and trebles that float over the top:
And now, here are the rest of the videos: Continue reading
More videos from the recent Golden Gate All-Day Singing, held on Saturday, April 27, 2013, at the Potrero Hill Neighborhood House in San Francisco. Videos are of Alex leading 313b Cobb; Bob leading 163t Morning; Hal leading 487 Soldier’s Delight; Joel leading 77t The Child of Grace; Linda D. leading 348t Ainslie; and Liora leading 42 Clamanda.