Imperfection

Chi̍t-ê pau-hâm bē-chió chhò-gō͘ ê piáu-ián kám ū khó-lêng chiâⁿ-chòe ū kè-ta̍t ê piáu-ián？Chóng-sī ū chi̍t-ê te̍k-pia̍t ê kò-àn, phòe-ha̍p te̍k-pia̍t ê lí-iû hō͘ chi̍t-pái put-liông ê piáu-ián hoat-seng kè-ta̍t. Kiám-chhái  Mendelssohn  teh siá  hit  siú  "Tī Chú-lāi hioh-khùn, nài-sim tán-hāu I" ê-sî sim-lāi ū teh siūⁿ beh chih-chuh chi̍t-è.  Tī sím-mí chêng-hêng ē-bīn lán ē siūⁿ-beh chhōe Siōng-chú, koh behtán-hāu I？
Hāu-kó：Chit tè koa ê tiong-ng-chām, te̍k-pia̍t sī ū chhò-gō͘ ê-sî, ē ín-khí piáu-ián ê lâng kap thiaⁿ ê lâng lóng put-an, hoân-ló, koh kín-tiuⁿ. Chìn-ji̍p tē-saⁿ tōaⁿ, te̍k-pia̍t sī chiap-kīn kiat-sok ê-sî, kín-tiuⁿ ê bô-khì, in-ūi kiat-kò kap piáu-chêng lóng piàn khah kán-tan hō͘ "hioh-khùn" kap "tán-thāi" ê kám-kak tit-tio̍h hián-hiān. Án-ne sī teh kóng tng chit-tè koa piáu-ián bô oân-choân ê-sî hoán-tńg ō͘ lâng tit-tio̍h khah chhim, khah khoah, kap tāi-iok kóng sī khah hó ê hāu-kó. 

Is it possible that a performance full of errors be worthwhile?  Mostly not. There is a special case with special reason for such poor performance to become something valuable. Mendelssohn might have composed this song "O rest in the Lord, wait patiently for Him."  with special trick in mind. In what cases we will look for God and wait for Him? The effect: the middle section, especially with errors, trigger anxiety, worries, and tension, in both the performer and the listeners. Moving into the third section and toward the end, the tension get resolved through the relatively simpler structure and dynamic the effect and expression of "wait" and "patiently" is finally realized. This means that the imperfect performance of this song facilitates deeper, wider, and overall better effect of this song.

一次錯誤百出的的表演可能成為有價值的表演嗎？ 有個特殊的個案配合特殊的理由，使一場不良表演產生價值。孟德爾遜寫下那首「耐心等候主」--「在上主裡面等憩息、耐心等候祂」的時候，可能帶著某種特殊的用意吧？在一切都順暢、合意的時候，我們會找祂、等祂嗎？效果：這首歌的中間段，尤其是帶有錯誤的表演，引發表演者跟聽者的焦慮、操心、和緊張。進入第三段，尤其是接近尾聲時緊張會因著相對單純一些的結構和變化而獲得解除。「等候」與「耐心」的表情終於落實。這意味著這首歌的「不完美表演」反而促成「較深」、「較廣」、以致大致上「較好」的效果。

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Chi̍t-ê pau-hâm bē-chió chhò-gō͘ ê piáu-ián kám ū khó-lêng chiâⁿ-chòe ū kè-ta̍t ê piáu-ián？ Is it possible that a performance full of errors be worthwhile?  一次錯誤百出的的表演可能成為有價值的表演嗎？ 

Tāi-pō͘-hūn ê lâng sī bô-khó-lêng khòaⁿ-chhut kè-ta̍t. Mostly not. 大部分的情況下不可能 

Chóng-sī ū chi̍t-ê te̍k-pia̍t ê kò-àn, phòe-ha̍p te̍k-pia̍t ê lí-iû hō͘ chi̍t-pái put-liông ê piáu-ián hoat-seng kè-ta̍t. There is a special case with special reason for such poor performance to become something valuable. 有個特殊的個案配合特殊的理由，使一場不良表演產生價值。

Kiám-chhái  Mendelssohn  teh siá  hit  siú  "Tī Chú-lāi hioh-khùn, nài-sim tán-hāu I" ê-sî sim-lāi ū teh siūⁿ beh chih-chuh chi̍t-è. Mendelssohn might have composed this song "O rest in the Lord, wait patiently for Him."  with special trick in mind. 孟德爾遜寫下那首「在上主裡面等憩息、耐心等候祂」的時候，可能帶著某種特殊的用意吧？

 Tī sím-mí chêng-hêng ē-bīn lán ē siūⁿ-beh chhōe Siōng-chú, koh behtán-hāu I？ In what cases we will look for God and wait for Him? 在什麼情況下我們會想要找上主，並且等候祂？
Ta̍k-hāng tāi-chì lóng sūn-sū ha̍h lán ê ì-sù ê-sî lán kám-ē siūⁿ beh chhōe Siōng-chú nè？ Is it possible that we look up to Him and wait for Him, when everything is going our ways? 在一切都順暢、合意的時候，我們會找祂、等祂嗎？

Hāu-kó：Chit tè koa ê tiong-ng-chām, te̍k-pia̍t sī ū chhò-gō͘ ê-sî, ē ín-khí piáu-ián ê lâng kap thiaⁿ ê lâng lóng put-an, hoân-ló, koh kín-tiuⁿ. Chìn-ji̍p tē-saⁿ tōaⁿ, te̍k-pia̍t sī chiap-kīn kiat-sok ê-sî, kín-tiuⁿ ê bô-khì, in-ūi kiat-kò kap piáu-chêng lóng piàn khah kán-tan hō͘ "hioh-khùn" kap "tán-thāi" ê kám-kak tit-tio̍h hián-hiān. Án-ne sī teh kóng tng chit-tè koa piáu-ián bô oân-choân ê-sî hoán-tńg ō͘ lâng tit-tio̍h khah chhim, khah khoah, kap tāi-iok kóng sī khah hó ê hāu-kó. 
 The effect: the middle section, especially with errors, trigger anxiety, worries, and tension, in both the performer and the listeners. Moving into the third section and toward the end, the tension get resolved through the relatively simpler structure and dynamic the effect and expression of "wait" and "patiently" is finally realized. This means that the imperfect performance of this song facilitates deeper, wider, and overall better effect of this song.
效果：這首歌的中間段，尤其是帶有錯誤的表演，引發表演者跟聽者的焦慮、操心、和緊張。進入第三段，尤其是接近尾聲時緊張會因著相對單純一些的結構和變化而獲得解除。「等候」與「耐心」的表情終於落實。這意味著這首歌的「不完美表演」反而促成「較深」、「較廣」、以致大致上「較好」的效果。

https://www.youtube.com/watch?v=4ezmwLRi7hg&list=PLgcznScNc5eh7Rk6aU9FeywPwzsJBu34A&index

Recording a rehearsal or a practice

What can be recorded, how, for what, and so what? (quick notes to support the choir director of St. Ambrose Church, for the first talking this evening, about the possible record in the near future. March 16, 2017)

1. The whole process of group practice or rehearsal can be easily recorded for documenting the attendance, the process flow, the techniques used in leading, instructing, improving, etc., the words and wording, the overall effect of practicing or rehearsing. The choir directors or orchestra conductors, can be benefited by reviewing, studying, and picking up what were overlooked when they happened, and plan for future practices/rehearsal.
2. The process can be recorded with one camera facing the director or coach or facing the whole ensemble, if the participants agreed to be recorded.
3. The camera person should minimize the interference to the process if the recording is for documentation rather than a directed production of a film.
4. It would be nice to have at least two cameras with one focusing on the director/conductor the other capturing the responses by covering all the practice/rehearsal participants.
5. For better effect of documenting the words and the wording, it might be helpful for the director to paraphrase the words from the participants.
6. Whenever any single person being recorded feel uncomfortable about being recorded the recording should stop and the recorded portion erased unless brief discussion convinced the uncomfortable individuals to let the recorded portion stay.
7. A reasonable number of free copies in DVD format, negotiable, would be provided to those being included in the video by the Gardeners of Hope Foundation it the recording were done or planned through the Gardeners of Hope Foundation.
8. It would be nice and constructive to record volunteering individuals comments after the rehearsal, including what they have learned or how the practice help them in whatever sense.
9. The Gardeners of Hope Foundation would edit and perhaps notate the video clips for further sharing, either privately or publicly depending on the collective agreement of the practicing/rehearsing group being recorded.
10. After the initial experiment the practicing/rehearsing group is encouraged to schedule own recording, with or without the assistance from the Gardeners of Hope Foundation.
11. Individuals are encouraged to have individual practice or rehearsal recorded with or without assistance of the choir director / orchestra conductor, for personal growth and souvenir. 

Practice and rehearsal are different activities with different purposes, processing flow, foci, and actions. 

Concertino-ensemble 小組合協奏曲

A new concept and form of composition/performance emerged today, March 1, 2017, at home after transcribing the first song from "Tâi San Kheh" through Sibelius 4.

This is short and simple composition/arrangement for music students to taste folk or popular music of Taiwan in a small ensemble with concertino style. The ensemble has at least two solo instruments with one playing as soloist while the other playing as accompanist. The accompanist will introduce the motive or the theme. While the soloist play the theme the introducer would play accompaniment.

There could be an optional cadenza played by the soloist. In the case that all members of the ensemble play as soloist, each player could have a cadenza, followed by a closing tutti.   The cadenza can be composed separately in various levels of technicality to be inserted in various levels of concertino of the same tune. The number of movement is not restricted or formulated. 

The forms, the pattern of accompaniment or style of the ensemble could be an imitation of other famous piece.The purpose is for the music student to taste two styles of music in one piece.

Today, Marh 2, 2017, I realized that the form was first created by Mr. Jui-lin Ong, the founder of STYCO, for the first recital of STYCO in this home-made piece honoring the graduating founding member, Dr. Yi-hsiao Leu.  http://tinyurl.com/ensembledconcertino

March 25, 2017 I ran across another idea of naming this form of composition/arrangement - "mini concertino", "mini-concerto", or "concertimini" for short.

This concept is a continuation from the following story.

Piano Lessons

(3) Ahhee Hsu - Piano Lessons TRUE STORY...PLEASE DO NOT DELETE,...

https://www.facebook.com/ahhee.hsu/posts/1608600915822183 

TRUE STORY...PLEASE DO NOT DELETE, RETURN IF YOU CAN'T FORWARD TO AT LEAST ONE PERSON!!!

At the prodding of my friends I am writing this story. My name is Mildred Honor. I am a former elementary school music teacher from Des Moines, Iowa.

I have always supplemented my income by teaching piano lessons... something I have done for over 30 years.

During those years, I found that children have many levels of musical ability, and even though I have never had the prodigy, I have taught some very talented students. However, I have also had my share of what I call 'Musically Challenged Pupils'.

One such pupil being Robby. Robby was 11 years old when his mother (a single mom) dropped him off for his first piano lesson.

I prefer that students (especially boys) begin at an earlier age, which I explained to Robby. But Robby said that it had always been his mother's dream to hear him play the piano, so I took him as a student.

At the end of each weekly lesson he would always say 'My mom's going to hear me play someday.' But to me, it seemed hopeless, he just did not have any inborn ability. I only knew his mother from a distance as she dropped Robby off or waited in her aged car to pick him up. She always waved and smiled, but never dropped in.

Then one day Robby stopped coming for his lessons. I thought about calling him, but assumed that because of his lack of ability he had decided to pursue something else. I was also glad that he had stopped coming. He was a bad advertisement for my teaching!

Several weeks later I mailed a flyer recital to the students' homes. To my surprise, Robby (who had received a flyer) asked if he could be in the recital. I told him that the recital was for current pupils and that because he had dropped out, he really did not qualify.

He told me that his Mother had been sick and unable to take him to his piano lessons, but that he had been practicing. 'Please Miss Honor, I've just got to play,' he insisted. I don't know what led me to allow him to play in the recital - perhaps it was his insistence or maybe something inside of me saying that it would be all right.

The night of the recital came and the high school gymnasium was packed with parents, relatives and friends. I put Robby last in the program, just before I was to come up and thank all the students and play a finishing piece. I thought that any damage he might do would come at the end of the program and I could always salvage his poor performance through my 'Curtain Closer'.

Well, the recital went off without a hitch; the students had been practicing and it showed. Then Robby came up on the stage. His clothes were wrinkled and his hair looked as though he had run an egg beater through it. 'Why wasn't he dressed up like the other students?' I thought. 'Why didn't his Mother at least make him comb his hair for this special night?'

Robby pulled out the piano bench, and I was surprised when he announced that he had chosen to play Mozart's Concerto No.21 in C Major. I was not prepared for what I heard next. His fingers were light on the keys, they even danced nimbly on the ivories. He went from pianissimo to fortissimo, from allegro to virtuoso; his suspended chords that Mozart demands were magnificent! Never had I heard Mozart played so well by anyone his age.

After six and a half minutes, he ended in a grand crescendo, and everyone was on their feet in wild applause!!! Overcome and in tears, I ran up on stage and put my arms around Robby in joy.

'I have never heard you play like that Robby, how did you do it? Through the microphone Robby explained: 'Well, Miss Honor, remember I told you that my mom was sick? Well, she actually had cancer and passed away this morning. And well... she was born deaf, so tonight was the first time she had ever heard me play, and I wanted to make it special.'

There wasn't a dry eye in the house that evening. As people from Social Services led Robby from the stage to be placed in to foster care, I noticed that even their eyes were red and puffy. I thought to myself then how much richer my life had been for taking Robby as my pupil.

No, I have never had a prodigy, but that night I became a prodigy ... of Robby. He was the teacher and I was the pupil, for he had taught me the meaning of perseverance and love and believing in yourself, and may be even taking a chance on someone and you didn't know why.

Robby was killed years later in the senseless bombing of the Alfred P. Murrah Federal Building in Oklahoma City in April, 1995.

What touches me is not anything about the truth in the story. It helps me and guide me to study "concerto" and find new ways for ordinary people, especially the "half-bucket-musicians" to approach and appreciate the concerto..
See this for further understanding. http://www.snopes.com/glurge/music.asp