Travel time and time travel

This morning feels about a million years away! Really, I only had two main events today, but the day felt much longer.

I started with a Gregorian Chant workshop put on by RSCM EEL. I wouldn't ordinarily have gone to something like that with such short notice -- I got an e-mail about it on Thursday -- but it was led by Nick Gale, director of music at St George's RC Cathedral, and it was close to home at Our Lady of Lourdes Church in Wanstead. Our first chant of the day was not Gregorian but Ambrosian chant, a setting of the Gloria. It dates from around 400 CE, and it was interesting to see how the later additions to the text of the gloria were clearly of a different musical pattern than the earlier text. There was also quite a lot of actual Gregorian chant, including some things that might be useful for Advent.

I enjoyed the workshop immensely. After that I was off to a Harvest Supper at St Mary's Addington, where I was to play the serpent and the piano as part of the entertainments. The journey was quite horrific; I was kindly offered a lift by another workshop participant who lives near Addington, and as it had only taken him about 45 minutes to get to Wanstead in the morning I accepted. Unfortunately the southbound Blackwall Tunnel was closed and we spent about two hours on Blackwall Tunnel Approach. I couldn't even get out and take public transport until after we'd cleared the start of the tunnel.

I got there in the end, though, and the entertainments hadn't yet started. Phew! My piano playing was accompanying two friends singing "Misalliance" by Flanders and Swann. I was still a bit rattled after the journey and my hands were shaking badly, so I didn't play as well as I might have, but we got through okay and the audience loved their singing -- and acting! Later on was the serpent number. The choir had rehearsed "O God, my heart is fixed, 'tis bent", a metrical setting of Psalm 57 vv7-11 from the London Gallery Quire book Your Voices Raise, but we hadn't had a chance to play it together at all; it went well. The tune is "Lynn" by Uriah Davenport (1690-1784) and the words are from the New Version of Tate and Brady (1696). I had left my notes for the brief chat about the serpent and about West Gallery music at home, so forgot large parts of them; hopefully I didn't baffle people too much. I closed that set with a brief rendition of "Fly Me to the Moon" for reasons which I won't go into here. I have found that, anachronistic as it might seem, some of the jazz standards work remarkably well on the serpent. Possibly it's because I'm so accustomed to playing vocal basslines.

Then it was just the long journey home again... given the earlier transport problems, I accepted with some trepidation a lift as far as East Croydon station from a choir member, and though there were indeed some roadworks and a detour it was smooth driving all the way there. Then came the train, and the tube, and the rail replacement bus, and the walk home.

Dates for music I have sung/played today:
~400BC
18th century
20th century

Types of transport I have used today:
walking
Tube
private cars (not mine -- I don't drive!)
bus route 15
Docklands Light Railway (a sort of train)
London Overground (another sort of train)
Croydon Tramlink
British Rail
TfL rail replacement bus.

Clearly what I need is one of these:


No wonder the day felt long. It's far past my bedtime now, though; I've got to get up in the morning to play the organ at church.

Going loopy

Those of you who follow me on Twitter may have caught me going on about something called "looping" or "live looping".

Basically this involves recording oneself playing and then playing back the recording within the same performance; in this way one can accompany oneself. There are all sorts of fantastic machines to assist in the process.

I'm interested for a few reasons. One is finally, finally getting around to listening to Zoe Keating over on Bandcamp, which seems to be where the cool kids are releasing albums these days, and reading an interview on her creative process. Another is the simple augmentation that looping can give to solo horn.

I love chamber music, and I hope it will always be part of my working life, but it always seems to result in a lot of time getting tied up, and a lot of effort arranging rehearsals. My main instrument growing up was the piano, which can be much more solitary; I am used to that sort of independence in my rehearsing and performing. Now, there is always unaccompanied horn repertoire, and indeed I want to learn more of it, but that is not exactly a bottomless well of material. Some of it is extremely technically demanding and it doesn't really appeal to a wide audience. Looping would allow me to do solo improvisation and could make me much more independent as a musician.

I think live looping could be incredible fun. I've always enjoyed improvising, and I recognise some similarities with my own inner world in the interview linked above: I, too, am seldom without music in my head, and very often it takes the form of short snippets which could be built into something else.

I'm not sure anyone else out there is doing much live looping on the horn; a quick search turned up one YouTube video. I think the horn might be quite well-suited to it, as are the cello and the electric bass: like the stringed instruments, the horn has a wide range of available tone colours and a decent compass in terms of pitch.

I'm a complete newbie to all of this, so at this point I'm just reading a bit, and thinking about whether to borrow or hire some equipment to play with. It would be a shame to buy it and then let it gather dust. But I'm also really excited about the musical possibilities, and it's good to have a horn-related project.

Further updates as events warrant...