I would normally be writing a note about upcoming chapter meetings and organ performances. This is not a normal time! However, I would like to bring your attention to Saint Mark’s Cathedral’s livestream of the annual All-Bach On the Flentrop. Michael Kleinschmidt will be performing and offering commentary from the console on Friday, May 8th, at 7:30 PM. More information is available at https://saintmarks.org/music-arts/music-series.
This is a time of great personal and professional upheaval for all musicians. My primary church job, Organist & Choirmaster at Episcopal Church of the Redeemer, has thankfully continued with streamed services. Only staff are allowed in the building, but morning prayer is led by the rector, myself, and two well-spaced cantors. (My pre-service warm up time now includes a LOT of wiping of doorknobs and light switches before I get to the bench!) I’m trying to use the enforced break from my other musical jobs as a kind of sabbatical, including spending more time on music composition. Last week I finished a trumpet and bassoon duet (an almost Hindemith-worthy combination!) for a couple in Orchestra Seattle. It will be premiered online, along with other new music written to celebrate the group’s 50th anniversary and annual auction.
I’ve asked other board members to contribute articles about how they are dealing with the quarantine, and there are some wonderful ideas forthcoming. Please see Cheryl Drewes’ article , the beginning of an ongoing series—as we continue in an ongoing situation.
Noting that many organists are under increased stress due to having to develop online alternatives to church or dealing with other impact from the COVID-19 pandemic, your board has voted to postpone Chapter elections. The present slate of officers and members of the executive committee will continue until such time as we can resume chapter meetings.
Due to concerns about Coronavirus, the board has cancelled the March 16 program. The program on choral conducting will be rescheduled at a future date.
March brings us two great programs, both of which are highlighted in the extra edition of our March newsletter.
The Seattle Chapter is sponsoring Rodney Gehrke, organist, at Gethsemane Lutheran Church on March 22. For details, see the accompanying article written by Tacoma AGO member Una Hwang, organist at Gethsemane Lutheran.
Emphasizing our role in choral music, the Tacoma Chapter is sponsoring a workshop with choral director Brian Galante on March 16. For details, see the accompanying article written by Tacoma Chapter Subdean Sheila Bristow.
There is still time to put in your request for a specific choral work to be included in the workshop. Go to this URL and make your request!
Eric Rutherford is from West Virginia, and grew up with shape-note singing in his native Appalachia. He also added academic credentials to his expertise, recently completing a DMA at the University of Washington with a dissertation focused on bringing shape note singing into the choral classroom.
Eric Rutherford discusses shape note singing
Eric shared this expertise with the Tacoma Chapter of the American Guild of Organists at the February meeting, with a talk on the history and practice of shape note singing followed by audience participation. Tacoma AGO member Nancy Ferree-Clark introduced him, having worked with him at Federal Way United Methodist Church.
Tacoma AGO member Nancy Ferree-Clark introduces Eric Rutherford at the February meeting in the Ness Family Chapel at Pacific Lutheran University
The shape note tradition is alive and well, with numerous local gatherings and all-day singings, including the Pacific Northwest. The point of singing this music is exactly that–singing. The music is for the performer and not for the audience. Nobody is worried about how they sound–they’re just enjoying the singing.
There are characteristics that are common in the shape note style:
Dispersed harmony, favoring 4ths and 5ths
Doubling of parts; bass is usually male voices, but the other 3 parts are doubled with men and women
Shaped notes and fasola syllables
Dynamic and rhythmic intensity – “forte is good, fortissimo is better”
Unaccompanied
Brief History of Music in the Early Colonies
The original European settlers carried their music traditions across the ocean. Psalm singing tradition in the Puritan faith included lining out the melody, but the traditional tunes had become corrupted with time. There was no time in the constant struggle to survive for formal music education, so most people were musically illiterate.
Singing schools began to arise in New England, mostly manifested by travelling self-educated music teachers in the American entrepreneurial spirit.
Many of the well known early American composers were also singing school teachers, including William Billings and Lowell Mason. Much of their music is preserved in the Sacred harp Hymnal and others from the time.
Singing school teachers needed to improve musical literacy quickly, and shaped note heads was not new, but proved to be a good way to improve sight reading.
The generally accepted shaped note method was developed by John Connelly in the 1790s, but Smith and Little beat him to the publisher with a teaching manual called The Easy Instructor
There were numerous shape systems, but the most common was based on fa sol la fa sol la mi fa rather than do re mi.
The Sacred Harp was one of about 37 tune books published between 1789 – 1855, but it was the most popular. There are four types of music in Sacred Harp:
Folk hymns
Fuging tunes
Anthems (usually much longer)
Original Compositions
Shape note performance practice:
Vocal style is often cutting, clear, and piercing, with the nasal passage used as the primary resonator.
Singing formation is often the “hollow square” with 4 groups facing each other, not necessarily grouped by gender.
The melody, in general, is in the tenor.
Leadership is egalitarian, and all are welcome to participate.
The conductor can be anyone in the group.
The tradition is still strong. New literature is being written, but local groups are honoring the traditions that are centuries old.
The program was very well received by the audience, with strong participation. Tacoma AGO board member Satya Jaech commented: “Even though I’d heard shape note singing before, I knew little about it. Eric’s presentation was clear and organized, and it included just enough information to assimilate in the time allotted. It was also interesting to sing some of the shape note hymns/songs, although I can’t imagine having the voice to sing these pieces for 6 hours straight!”
The two handouts from the meeting are reproduced below:
