Music can soothe, heal, and unite. The song that comes to mind is “Ode to Joy” in Beethoven’s Ninth Symphony. Unlike other symphonies, this one features the human voice. Its power is discussed in the documentary “Following the Ninth” – which I hope to get the link for everyone to watch BEFORE our Sunday global virtual jam session of “Ode to Joy” in its original key. See my blogpost.
On Saturday November 3rd, 2018, ukulele players that regularly attend ukulele meet-ups in Boston, Arlington, Cambridge, Plainville, Waltham, Somerville, and Dorchester will come to Milton to perform together. These ukulele enthusiasts will provide live music at Eustis Estate, the newest addition to Historic New England, at the Second Annual Blue Hills Great Estate Foliage Weekend in Milton, Massachusetts. The two-day event includes 30-minute landscape tours at 11 am, noon, and 1 pm on the estate’s 80-acres (as well as many outdoor activities like cider making demonstrations, apple crafts, apple tasting.)
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.
Reclaim your voice. Anyone can sing. You don’t need to read music notation. Listen. You can make beautiful music with your voice.
These are the messages of the “natural voice network,” something I read in Caroline Bithell’s well-cited 2014 book “A Different Voice, A Different Song: Reclaiming Community through the Natural Voice and World Song.”
I had to experience it for myself. I googled “natural voice network” and found a website with details of upcoming events. There was a free rehearsal at St Margaret’s House in Bethnal Green. It’s a part of East London I knew well, for I had lived and worked near Victoria Park some thirty years ago.
subtitle: Orchestrating Music Making in Ukulele Groups
After playing in various ukulele groups and starting my own, I had a burning question. “What can we do differently to get more out of our ukulele jam sessions?”
The answer lies in “The Ukestration Manual: Creating Music Making Communities with the Ukulele and Ukestra Method” by Mark Jackson and Jane Jelbart. Continue reading “Review: The Ukestration Manual”
When musicians meet, they want to play together. They exchange recordings of themselves. Playing together is a way to establish whether they are compatible, whether they want to collaborate, whether there is a future together.
Such was the case when I met a classical guitarist more than seventeen years ago. He copied a recording of his guitar quartet on CD as a takeaway gift.
The next time we met, I brought the only piano guitar piece I owned — an arrangement of Vivaldi’s guitar concerto for guitar and piano. Eager to find more pieces to play, I visited music bookshops in my travel as magazine editor. He arranged music for us to play. Before long, we had collected and arranged enough sheet music to give a concert. Soon composers started writing for our piano guitar duo.
The subtitle of our first concert at the Makawao Union Church in Maui, in December 2007, was “four centuries of music for piano and guitar” —- which comprised of arrangements, original compositions, and commissions. We released the live recording of the concert as a CD in January 2011.
If you are as fanatic about playing the ukulele as I am, getting to and from a jam session could be an issue if the venue is relatively far and inconvenient and if it’s the first time (in case you get lost). If the jam experience is worth it, you’d find an alternative way to get there to make it less painful and arduous. I’m always surprised when seasoned ukulele players drive more than an hour through rush hour to come to our weekly ukulele jam sessions. It’s not always easy to find parking in our area. The first time, they say they are curious. If they come again, it’s a compliment. We’re doing something right.