Today five virtuoso musicians met for the first time. Quartet San Francisco (QSF) was warming up in Gilman Chapel in Cedar Grove Cemetery. They had just driven up from Rhode Island where they were staying for a string workshop and concert at the university in their concert tour of Rhode Island, Boston, Lexington, and Martha’s Vineyard.
Robert Bekkers, who gave the inaugural concert of this new concert series, walked into the church and shook hands with them. He and Jeremy Cohen, founder and leader of QSF, had corresponded by e-mail after my introduction. One member of my ukulele pluck ensemble had told me about QSF, and after watching their videos, I was hooked.
Continue reading “When musicians meet, they play together”
If you travel through the London Underground and hear harp music being played, consider yourself lucky, for you will want to stop and chat with the harpist and buy his CD. Why? He is one of the nicest guys you’ll ever meet. His story will inspire you.
Continue reading “Live music underground in London”
Very little original material has been written for the ukulele, compared to the piano and other instruments. As such, most of the music for the ukulele consists of transcriptions. The journey to make a song sheet work for ukulele groups to read and use is one of reducing and simplifying the musical material to its barebones. After interviewing various transcribers who share their song sheets online for my research, I now share my way of transcribing songs for the ukulele.
Continue reading “Transcribing songs for ukulele: September in the Rain”
Reading about the legendary London Yiddish Ukulele Group (LYUG) at the Open Mic in the Jewish Museum in London reminded me to write about the way I learned to sing in Yiddish. I learned those Yiddish songs by listening and singing to an audio recording, in the days leading up to the live performance.
Continue reading “Yiddish songs with ukulele self-accompaniment”
As usual, I began our 7 o’clock ukulele jam session with an easy song, one that everyone knows with few easy chords. This being the Beatles Carpool Karaoke, I chose “Let It Be,” using San Jose Ukulele Club’s version in the original key of C major, with just four chords, rather than the G-major transposition with nine chords in the version in Richard G’s Songbook.
What can you do with “Let It Be” if you already know it very well?
Continue reading “Let it be real good”
With great expectations since I first received the score in early spring, I looked forward to the second performance of Robert Beaser‘s Chaconne. It’s a new work that I had studied and played in a large guitar orchestra for its premiere in April 2018. This time, Robert Bekkers, the conductor of our Boston Guitar Orchestra, played it with eight other musicians. Knowing that the nine guitarists rehearsed nearly every day of the Boston Guitar Festival confirmed my earlier belief that it was not an easy piece at all.
Continue reading “Robert Beaser conducts his Chaconne”
What a great idea to travel down memory lane singing songs you wrote in the different locations of your home town! That’s exactly what Paul McCartney did in Liverpool recently. The 24-minute Youtube video moved me to tears as “Let It Be” did for James Corden, host of “The Late, Late Show” in London.
Continue reading “Corden & McCartney sing Beatles songs in Liverpool”
The first time I saw the name of the festival “Ukulele Melee” I thought there was a typo or misspelling. I knew that “mele” was the word for music in Hawaiian. What then was “melee”?
“Melee” means a confused fight or mass of people, a word that originated from 1640 French mêlée and Old French meslee meaning “brawl, confused fight; mixture, blend.” It wasn’t until the one-hour drive to the festival in Hamilton, Massachusetts that morning of Friday 27th April that I learned the origins of the festival name.
Continue reading “Ukulele Melee 2018”
The one time I was proud of my playing as a member of the guitar orchestra and the combined sound we produced was also the one instance that I had forgotten to bring equipment to video or audio record ourselves. The three pieces we played in the concert of 27th April 2018 were much easier than the repertoire of the two previous concerts. I felt in control. I felt like a contributing member of the ensemble. We started and ended at the same time, no extra noises. My only regret was that I did not record it, and we won’t be giving this concert again.
From the reaction of the audience (loud and instant applause after each piece and the prolonged applause at the end; individual compliments after the concert), I gather we didn’t do badly at all. What makes an excellent performance? The first clue, we had an effective rehearsal only four nights earlier.
Continue reading “Effective rehearsal, excellent performance”
Premiering a new work is always a nerve-wracking experience, especially in front of the composer and an unknown public. I’m not sure who has the greater pressure, the composer or the performer, or in this case, the conductor.
On Sunday 18th March 2018, the Boston Festival Guitar Orchestra, made up of several regional guitar ensembles, including Boston Guitar Orchestra, gave the world premiere of Robert Beaser‘s Chaconne, a piece commissioned by the Boston Classical Guitar Society for the New England Guitar Ensemble Festival (NEGEF).
Continue reading “Premiering new work for guitar orchestra: Beaser’s Chaconne”