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.
How do ukulele groups approach the task of song selection to serve the dual purpose
of attracting and retaining members and audiences? This question addresses both repertoire development and concert programming.
Members are those who attend the meet-ups to play ukuleles and/or sing along
Audiences are those who attend the performances, and may sing along from where they sit or stand but don’t play with the group
Does the responsibility for choosing songs, finding, creating, or altering existing song sheets, making them available online or in print, as links, individual song sheets, compiled songbook, etc rest on one individual such as the leader? Does an official “gig book” or “song book” exist for the group, from which participants call out their choice of song? Or does a new songbook or song list get compiled for each gathering? Alternatively, do participants bring copies of the song sheet of their own choosing to distribute to others?
As usual in our jam sessions, we get bolder and bolder the later it gets. By 9 pm, the ten chords in “Hey Jude” don’t look formidable anymore. How can we sing “Let It Be” and exclude “Hey Jude” the last number in the Beatles Carpool Karaoke? Besides, Paul McCarney sings it in the same key as the song sheet from San Jose Ukulele Club.
From BEGIN’s Hana to Kina’s Hana, Anne Ku is on a quest for nostalgic songs of Okinawa.
No sooner than finding sheet music to BEGIN’s Hana, my retired Japanese language professor friend in California introduced an even more nostalgic song from Okinawa. It’s also called Hana. The composer is Kina Shoukichi (喜納昌吉).
The title “get the music to my orchestra” begs for attention. The orchestra produces music how does one get the music to the orchestra? Read about crowd funding that’s needed to get the scores to the orchestra.
An orchestra produces music. Why would you need to get music to the orchestra?
The title of Robert Bekkers’ crowd funding project begs attention. He needs to raise enough funds to rent the sheet music of the blind composer Joaquin Rodrigo’s “Concierto de Aranjuez” or the “Aranjuez Guitar Concerto” so that the musicians can read from the score and perform it for his Doctorate of Musical Arts recital at the New England Conservatory (NEC) in Boston on Sunday May 11th, 2014.