Time and Rhythm (b)

Time and Rhythm (b)
What are we to make of this knowledge?




Consistency of beats (steady tempo) should be dealt with in the earlier stages of music education. This is critical to the beginner and the building block for a sound music education. Musicians should be trained to a level where they possess a clock-work precision within them, without needing an instrument or object to help them keep a steady beat. Sadly, this is one of the many topics, which is seldom cultivated to a level of proficiency.

This deficiency, if not treated, would be damaging to the choir made up by a collage of singers and musicians of various musical background and level of training. Already the negative effects can be seen and it has been tolerated and considered as normal – sort of like tolerating “sand in the shoe”.

When there are many musicians and singers playing at same time (though all are consistent in their beats) they need a unifying factor to established the main beats (tempo) or else all would be playing in different tempos. The unifying factor should be the conductor. I am sure those who are reading this would agree, but I am afraid that my contemporaries here would not.

Many would prefer to rely on rhythmic instruments to help keep time. The commonest choices are:

1) Modern drum kit
2) Rhythm guitars
3) Electric guitars (Bass and Stratocaster)

I am not opposing these instruments or those who play them. In fact, these instruments are great inventions and have positively changed the world of music, especially modern secular music. They were vital in the development of new musical styles and continue to contribute to an ever increasing kaleidoscope of musical colours and sounds.

Can you imagine what the Beatles, Elvis Presley and the many great jazz and big bands as well as rock musicians would do without these two instruments? And I have not even mentioned modern ballads and metal yet!

I do understand and empathize with those who have the tendency to use them for liturgical worship because they grew up in an age where such music was very much prevalent in their modernistic and urban culture. During the times, after the close of the Second Vatican Council, there was a spike in a new “awareness” of “freedom” and “liberalization” and these ideologies were often expressed in and through art – in our case, the art of music. Secularism was steadily increasing (though not a bad thing in itself), and was presented by the majority as the way of the future and a natural progression towards a more liberal and intellectual era. Intellectual in the sense that one ought to do the thinking for oneself, independent from authority as if passivity and submission is a sign of weakness. The propulsion towards this new future absolutely blurred the lines between the sacred and the profane.

According to many church musicians of my generation, there is a somewhat “typological” twofold purpose for these instruments to be admitted for liturgical worship. On the surface, it seams reasonable.

1) To keep time and to give rhythm
2) The music sounds good with them

Let us examine these two purposes in detail although I would not attempt to give an exhaustive explanation.




TO KEEP TIME AND GIVE RHYTHM

Above, I have mentioned that these instruments were employed to keep time. There is no need for time keeping if the singers have consistency of beats and if the conductor conducts.

Instead of cultivating consistency of beats, we find ourselves totally dependent on these instruments for tempo. Dependency would lead to the diminishing role of the conductor and cripple the singers and the organist from developing consistency of beats.

This would “progress” to a dominantly instrumental and rhythmical form of music. The singing diminishes and the whole equilibrium of the mechanism and economy (from the Greek word oikonomia) of church music based highly on choral singing shifts to a more or less, band or karaoke style singing – very much resembling modern secular music.

It is no wonder that there is so little emphasis on the need for a conductor these days. The conductor’s role is not just to establish the tempo but to direct the music from an interpretative point of view like phrasing for example. Phrasing is like punctuation in literature. As such, the art of phrasing is similar to the art of enunciation and this aspect of music is largely associated to choral singing. [1] Incidentally, sacred music for liturgy is choral based, thus keeping with church tradition as reaffirmed in post conciliar documents and teachings. We direct our singing to and about God, the object/subject of worship. [2]

“The Christian faithful who gather together as one to await the Lord’s coming are instructed by the Apostle Paul to sing together psalms, hymns and spiritual songs (cf. Col 3:16). Singing is the sign of the heart’s joy (cf. Acts 2:46). Thus Saint Augustine says rightly, “Singing is for one who loves.” There is also the ancient proverb: “One who sings well prays twice” [3]

“Great importance should therefore be attached to the use of singing in the celebration of the Mass, with due consideration for the culture of the people and abilities of each liturgical assembly…every care should be taken that singing by the ministers and the people is not absent in celebrations that occur on Sundays and on holy days of obligation……” [4]

“All other things being equal, Gregorian chant holds pride of place because it is proper to the Roman Liturgy. Other types of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful…..” [5]

Musical instruments are an embellishment to the singing. It should support the singing by means of harmonic accompaniment and not overwhelming or taking over the role from the chorus.

Highly rhythmic music is not suitable for mass as it does not support the weight of the sacred mysteries we celebrate. Here, there is already a hint that secular drumming is not a wise choice for liturgical worship.

THE MUSIC SOUNDS GOOD WITH THEM

In Sacrosantum Concilium, the second Vatican Council warns that usage of any instruments associated with modern secular music should be avoided. The Sacred and the Profane must be well differentiated. What is of the sacred should be reserved for Sacred Worship simply because it (sacramental) communicates sacred things to us. If things of the profane are used for Sacred Worship, then the worship would be “poorer” because there is now a lack of sacred sensibilities.

“In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things. But other instruments also may be admitted for use in divine worship, with the knowledge and consent of the competent territorial authority, as laid down in Art. 22, 52, 37 and 40. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful.”[6]

The Church expounded more fully in the following statements from Musicam Sacram Instruction on Music in the Liturgy.

“…..The use of other instruments may also be admitted in divine worship (besides the pipe organ), given the decision and consent of the competent territorial authority, provided that the instruments are suitable for sacred use, or can be adapted to it, that they are in keeping with the dignity of the temple, and truly contribute to the edification of the faithfull.” [7]

“In permitting and using musical instruments, the culture and traditions of individual peoples must be taken into account. However, those instruments which are, by common opinion and use, suitable for secular music only, are to be altogether prohibited from every liturgical celebration and from popular devotions. Any musical instrument permitted in divine worship should be used in such a way that it meets the needs of liturgical celebration, and is in the interest both of the beauty of worship and the edification of the faithfull.” [8]


The modern secular style may be well played but the question remains: “Is this the type of music suitable for liturgical worship? Can they support the weight of the mysteries celebrated in the Liturgy?

One must learn to differentiate modern sacred music (having the necessary aesthetic, musical and technical elements which grew organically from sacred music of old) suitable for liturgical worship as compared to modern secular music adopted into liturgy.

“Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful” [9]

The rhythmic beats that are produced by using these instruments do not effectively reflect the prayerful atmosphere and sense of sacred during mass. Rhythmic beats of the modern secular kind, gives rise to certain emotions and excitement (emotional) inconsistent with that of the solemn nature of the mass.

Emotions are very important. It is a vital element of the human nature – it is what makes us human. Emotions are feelings conjured up by the realities of the inner workings of one’s heart. But it ought to be aligned with reason (intellect) and the will. When emotions are not aligned with reason and will, then it can be destructive, pushing one away from one’s fullest potential. But of course, since because of concupiscence, we always face a form of hindrance in our efforts to align these traits.

Unlike the Blessed Virgin Mary, whose life is above sin and the effect concupiscence, we can see in her, perfect alignment of reason, emotion and will. Because of this, she was able to live to her fullest potential and was perfect in everyway. She had good reasons to feel the way she did and always acted accordingly.

Therefore, this alignment is vital to how we approach music for the liturgy. Music should arouse in us the right emotions so that we can express ourselves better to God in our prayers through the different parts of the liturgy as each part expresses something different and unique. The various parts of the mass, then, are placed in an orderly manner building a climax towards the heavenly banquet through a journey of revelation modeled after the Emmaus incident.

An example can be taken from the GLORIA. The music and the singing should express a heavenly glory directed to the Trinitarian God. Though glorious, we should also take into consideration the solemn context in which this glory is rendered. If you add secular drumming into the music (even if it was a march-like rhythm), then you would have effectively lost or destroyed the solemnity of the glory and likened it to a military parade procession.

It is important that musicians understand the difference between emotional music and music which expresses the right kind of emotion(s) suitable for liturgy. There is a place for emotional music – which is the concert hall for artistic performances, for art’s sake and its development or for music which express a personal experience encountered with God. Liturgy is a different “ball game”.

Historically and traditionally, drums were never used for liturgical functions – not even in Jewish temple worship. The only evidence where drums were used was during the middle ages. Even so, drums were used only outside of the church to accompany certain processional ceremonies. The drums (percussion) were also very different from our modern drum kit and as such, the manner of playing is very different entirely – a somewhat timpani style playing. Its function is to provide light percussive tone and colours (not secular rhythm beating), intermittently during the course of the music. (Not to be confused with the actual timpani. Timpani can give a fuller sound (in terms of pitch)to the music, often providing pedal tones or effective at cadences – dominant to tonic)

What about psalm 150 which mentioned the praise of God with drums and cymbals?

Many quote this psalm to justify the need for drums for mass. First of all, you need to understand that this psalm was not written to prescribe the way we should praise God during mass, or then, Jewish temple worship.

Yes, we all praise God all day long with all our talents and with all that is given to us by God. We praise God even as we work and offer up our daily toils as a process of perfection towards holiness. Nobody can call Jesus, Lord, if not for the influence of the Holy Spirit. The Holy Spirit is not achieved nor attained but rather, given by God himself. We praise God always just as St. Paul urged us to pray always. But how I praise God during the course of the day is NOT how I praise God during Holy Mass.

I think it is silly for us to take an excerpt from the psalms and apply it to the perfect sacrificial worship of God in the Holy Sacrifice of the Mass. Back then, God had not established this sacrifice (which we call the mass) until Christ himself revealed it to the apostles.

Secondly, this psalm is metaphorically written – that each instrument symbolizes the different nations, races, civilizations and cultures. This psalm is definitely not a treatise on music for liturgy.

We must ensure that the music we use for liturgy lean towards the traditional sacred music in which the church holds in high esteem because it has the capacity to express the profound depth of the sacred mysteries we celebrate. Conversely, when we lean away from it, the music becomes less effective in expressing these qualities and it becomes easier to slip into banality music and from there onwards, a downward spiral which affects other aspects of liturgy.

To put it very plain and simply: Modern secular drumming and modern secular music of any sort is not appropriate and suitable for mass because of the many reasons stated above. [10]




Saint Cecelia, patron of musicians and all you angels in heaven pray for us and grant that we may learn to chant and sing and play music suitable for Liturgy. We pray that we may one day learn to sing like angels before the throne of God on earth during Holy Mass and that we will be able to develop consistency of beats through diligent training. Mother Mary, intercede for us and be our guiding star to your son through authentic worship of him in the Mass. May we draw inspiration from you in praising God when you, in your perfection and fullness of grace, responded to God by offering him the most beautiful Magnificat. Amen.

[1] Recently, a church musician “passionately” argues that music for liturgy must be void of all phrasing as he thought it would definitely disrupt the worship of the congregation. How mistaken he had been. And the most unfortunate thing is that he managed to convince a few other church musicians to support his “just” cause. Since it is words that we sing, all the more phrasing should be applied when singing.

[2] This is why I used the word economy - to dispense an understanding that the singing reveals the profound mysteries which we celebrate where spoken words alone are insufficient. It is the Word of God and the Word Himself whom we sing to and about.

[3] General Instruction of the Roman Missal No. 39.

[4] General Instruction of the Roman Missal No. 40.

[5] General Instruction of the Roman Missal No. 41.

[6] Sacrosanctum Concilium No. 120.

[7] Musicam Sacram Instruction on Music in the Litugy No. 62.

[8] Musicam Sacram Instruction on Music in the Litugy No. 63.

[9] Sacrosanctum Concilium No. 120.

[10] I am happy to report that after the celebration of the Holy Mass of the Ascension of our Blessed Lord has concluded, the drummer of my parish came up to me and confided that she felt that drums should not be used for liturgy – and most certainly not for the ordinaries of the mass. I believe more and more young people are beginning to understand as well as to think and feel with the church.

Time and Rhythm (a)

Time and Rhythm (a)
A Musical Typology


Rhythm and time (tempo) are often confused for one another. Although these two are interrelated and intertwined, they are in themselves two very distinct subjects. There is a typological play between these two.

In brief, typology is a term that uses past events, pre-understandings or an analogy already understood to explain or reveal a truth or to define a corresponding of events.

For example, in the words of St. Augustine, Typology assumes that the New Testament is concealed in the Old, and the Old is revealed in the New.

How do we apply typology as we understand it, to time and rhythm? Let me try my best to explain.

Without time, rhythm can not exist. However, when we create rhythm, time would be automatically established. Time gives rhythm its notational value and in rhythm, time is felt and is given a whole new meaning.

Let me give you another practical example. Try singing your favorite hymn and sing it in such a manner where every note is equal in value. What did you notice? How did you feel? When every note is sung in equal value, then there is no rhythm. When there is no rhythm, then you can never ascertain if it was duple or triple time.

Therefore, this demonstrates how Time and Rhythm are both unique and yet are closely intertwined and can not stand alone.

Time is a type and rhythm an antitype.

Type is normally a sign or a prefiguring sign which points to the antitype, which is the thing signified.

For example, we use duple time or triple time (type) to express rhythmic motive or express certain styles of music effectively.

Another way of looking at it is this: Triple time (type) is used when composing a polonaise or mazurka, without which, they can never come to fruition. The rhythm (antitype) of the polonaise and mazurka can only be crafted when written in Triple time (type).

Time is everything for music. It is the canvas on which music is composed. Time is the boundary in which musical freedom is found. For the musician, time is the canvas and frame where musical colours are painted. Without time, music can not exist. Even free time does not mean that there is no time – it is just that the time is freer.



Time

In English, we have one word for many meanings. For instance, the word “ball” can mean a sphere object, a fun time, or a room for dancing. The word “time” in music is no exception to this phenomenon and is broadly used. Here are some examples:

• It is in triple time (denoting that there are 3 beats in a bar)
• Play in time (telling someone to play with a steady beat)
• Fast and slow time (Play the music in a fast or slow pace)
• First and second time (We refer to the repeat of a section, second time)
• Strict time (Steady pace)
• Free time (Allowed for a manipulation of pace without keeping to a steady pace)
• Simple and compound time (the reference to the different groupings of beats)

Because of this, confusion and improper usage of the word TIME arose and lead to deeper confusion. This situation is not helpful especially for the aspiring catholic musician. As such, I hope that this essay will help provide some answers pertaining to time and rhythm.

In our mortal existence, we live in a dimension called time. Time in music draws upon this dimension, however, musical-time is a result from our manipulation of this dimension.

Try clapping your hands with perfectly equal intervals;

1       2       3       4       5       6       7       8       9       10 etc …. Well done!
 l.......l l.......l l......l l.......l l.......l


l…….l = represents the interval between two claps. If all the intervals are
equal then you have a consistent time (or beats).



If you clap like this instead:

1      2   3    4        5     6   7    8       9     10 then it could mean that:
 I.....I I..I I...I I…….I


• You were not clapping in time, or not clapping in strict time, and thus giving the effect that it was clapped in fast and slow time (various tempo or speeds)
• You were not clapping steadily
• And I would certainly ask you to clap the second or third time or as many times as it takes to get you clapping consistently



Now, do the same thing again while accenting on every two claps. Take care to clap them with perfectly spaced intervals.

>       >        >       >       >
1  2 I 3  4 I 5  6 I 7  8 I 9  10   etc…Excellent!
1  2   1  2   1  2   1  2   1  2    = the accent should fall on the first beat


> = denotes that the first beats are accented


You have just created a two beat per bar time. In other words; Duple time.


Accent every three claps,


>          >         >          >
1 2 3 I 4 5 6 I 7 8 9 I 10 etc…Excellent!

….and you would have created three beats per bar; Triple time.

Contrary to popular belief, music has only two types of beats. No, they are not compound and simple time because then, there is also irregular time. The two types of beats are:

• Duple
• Triple

Quadruple is actually the addition of 2 duple beats.

2 + 2 = 4

The only difference is that in quadruple time, the main accent falls on the first beat of every bar with the addition of a smaller accent on the third beat.

>    _       >    _      >     _
1 2 3 4 I 1 2 3 4 I 1 2 3 4


> = denotes that the first beats are accented
_ = denotes a mild emphasis

All other beats are the combination and addition of the two main beats – duple and triple. (this is true even for compound time)

For example:

Irregular time of 5 and 7 beats per bar is made up of:

3 + 2 = 5

3 + 3 + 2 = 7

However, it is not always that when you sing or play music, these accents are executed.

Rhythm

What is rhythm?

It is defined by the spaces formed between notes according to a steady tempo/beat. The variety of spaces between notes depends on the value of each note. The value of each note depends on how long it last after it has been sounded until the next note is executed. This variation of time spaces between a succession of notes is what we call rhythm.

Now that time and rhythm has been defined, I will give you an example of how these two topics are frequently mixed up.

First of all, fast beats are termed as fast tempo and slow beats, slow tempo. Therefore, if the piece of music is played fast, it is a fast tempo piece and NOT fast rhythm and similarly, if the music is played slowly, it is a slow tempo piece and NOT slow rhythm.

There were many instances when I have heard musicians telling another “No, the rhythm is slower” in efforts to inform his fellow choir member to play at a slower tempo. Rhythm can never be fast or slow.

Well, I do not know if your parish or diocese faces such confusing situations but where I come from, this happens all the time.

Parallel to this understanding, the opposite applies. When a rhythm of a certain part of the music is demonstrated, try to avoid the tendency to say, “The TEMPO is like this” but rather say, “This is how the rhythm is” and then proceed to demonstrate by clapping out the rhythm or by using any method which works best.

When the same music is played twice using two contrasting tempo – the first time fast, and the second time slow, It is the tempo that changes and not the rhythm. The rhythm does not change just because the music is played faster or slower than previously, unless of course the rhythm was deliberately changed.

Similarly, a person can not change his genetic constitution just by being fat or thin. He is still that same person; either a fatter same person OR a thinner same person. Alter his genetic makeup and he would be an entirely different person – but I guess we do not possess the power to do such a thing.

H2O is still H2O whether in the quality of ice, aqueous OR steam.

This is a “mirror image” of the miracle of the transubstantiation; a miracle where GOD changes the substance without changing the external qualities. Let us take a minute to ponder: If humans can change the external qualities (known as accidents) without changing substance of objects, do you not think that God who is almighty can change the substance without altering the accidents?

Back to music: another point of note is that, music which is highly rhythmical is NOT suitable for use in the liturgy. This is because highly rhythmic music does not support the solemn nature of the mass. It fails to communicate a sense of sacred and a mood for prayer in the liturgy and instead it has the tendency to invoke excitement or emotions which are not appropriate for liturgy. As such, modern sacred music composers should deny any such complexities in their compositions.

* do not mistake the excitement of joyful anticipation of advent to the excitement of highly rhythmic music.

*note that the Gregorian chants and sacred polyphonic compositions are mainly written in moderate to slow tempo (tempo moderato) and they were never written in highly complex rhythms.

Joy of Music

Joy of Music
Voice in the desert

Those who want to sing well ought to learn from one who shouts – the voice in the dessert. The voice of St. John the Baptist.

“Prepare the way of the Lord, make his path straight”

St. John the Baptist is a great model for Catholic musicians. He lived his life paving the way for Christ, pointing others to him and never selfishly keeping his followers from the Messiah. (Jn 1:36) Christ was first and foremost in his life.

St. John made clear the contrast between Christ and himself when he said in LK 3:16 “….As for me, I am not worthy to untie his sandal”. On the surface, this statement declares the state of Christ’s kingship and how unworthy we are before His majesty of splendor.

However, if you reflect deeper, juxtaposed to this contrast was a solemn prophecy that he was to share in the sufferings of Christ (probably unbeknown to him). Since Christ was rejected and put to death for speaking the whole and fuller truth, how then can St. John who is the servant outdo Christ by escaping suffering and death?

This declaration of unworthiness and similarities was then later echoed by St. Peter the Apostle in Rome, when he requested to be crucified upside down for he sees himself unworthy of the glorious death of his Lord and Master.

A Christian can never suffer more than Christ (unworthiness) BUT at the same time shares in the sufferings of Christ brought about by the living and proclamation of truth (similarities), for God’s ways are not the ways of the world.

In proclaiming the truth, the Baptist spoke with great passion and conviction. He was despised for it. There were some who perceived his message as intimidation and intimidation turned into hostility.

Christ’s response to this is not in any way consoling. Jn 15:20 “Remember what I have told you: The servant is not greater than his master; If they persecute me and they will persecute you too. Have they kept my teaching? Will they then keep yours too?” and Jn 15:18 “If the world hates you, remember that the world hated me before you”

But what could be so intimidating about the truth? Should not truth be liberating? Was the sense of intimidation from without (the bare truth spoken with passion and conviction) OR from within (the unwillingness to repent and open to goodness due to the comfort zone of ill leaving)?

Herod and herodias were displeased with the truth they heard and were offended. Was John the Baptist offensive? Or rather, the pride of Herod made it difficult for him to accept the truth, remained unrepentant, hence the intimidation was self inflicted from within – an insecure self filled with pride so perverse which in turn manifested into hostility and hence the decapitation of the saint.

What has all this got to do with the joy of music?!

True joy comes from within, expressed through the elements from without. When we are joyful, we express it in the way we live our lives. Unfortunately, many are searching for joy in all the wrong places. We look for the superficial externals and everything without in search of a “joy” which can never satiate. The human is far too anxious and impatient and settles for the easiest solution of instant gratification.

This attitude has crept into all aspects of human living including music used for liturgy. We look for catchy tunes and rhythm as a source of “joy”, a feel good factor. These are merely superficial external aspects, which in itself, is not a bad thing. The problem lies in using it as a yardstick to measure appropriateness on the usage and quality of liturgical music simply because it arouse in us a “feel good” feeling.

This is a very shallow approach which inevitably creates a false pretense or façade, a “masquerading” of the truth.

The joy of music then, is the experience of expressing the realities of what lies within through the internal as well as the external aspects of music. As far as the liturgy is concerned, music should help reveal, sustain, prolong, focus and stimulate what already IS, which is found in the sacred mysteries which we celebrate in the mass. Music should help express a reality in which words alone can not. As such, liturgical music is very much sacramental in nature.

For example, when we sing a communion chant, antiphon or hymn, we should express and reflect the nature of the communion procession in our music and not recreate an entirely different atmosphere from that of a communion procession just because one is tempted by the external feel good factor of catchy tunes and rhythm.

The internal aspects of music can be classified as below:

a) Compositional depth (intent, content, structure, feature, form, motive, harmony, tonal colour, interpretative potential, and imagination etc)
b) Interpretation (technique, musical ability and musical awareness/knowledge)
c) Suitability of usage (whether for liturgy, devotional, praise and worship etc)

*** Catchy tunes and rhythm lacks the necessary qualities to express and reflect the sense of sacredness and solemnity of the mass. On the contrary, we must take into consideration appropriate tunes and rhythm when we select hymns as they do play an important role in reflecting the sacredness and solemnity of the mass and seasons of the liturgy.

Thus, all efforts should be made in selecting...

- appropriate music ( (a)compositional depth and (c)suitability of usage),
- with appropriate melodic (tune) and rhythmic motive (external aspects)
- and executing ( (b)interpretation)

...it in such a way that invites people to prayer, lifting one’s mind and heart to God, transcending the soul to higher and heavenly things. In so doing, the joy comes from the experience (and not the feel good factors of catchy upbeat tunes and rhythm) of music as a transporter as well as a galvanizing material of the senses, mind and soul to bring deeper meaning and flight to prayer.

To explain further: Anybody would be attracted by catchy tunes and rhythm and react accordingly. Play a rumba beat and instantaneously you will feel like dancing. Put up a performance-like music and people would be compelled to clap. There is a cause and effect relationship at play.

This sort of attraction is merely superficial and brings about the kind of feel good sensual excitement, an inebriation which often excludes the mind and the heart and contradictory to the spirit of the liturgy.

Sadly, in these times, such music is played and used for liturgy, thus shifting the role of music as a tool to facilitate prayer to a performance and a feel good self gratification experience. Music in the liturgy must never be a means in itself.

The performance-like manner of playing music for liturgy decays the “quality” of worship; just as poor and bad playing of liturgical music do, although it (decadence of quality due to music) does not in any way alter the unseen realities which take place during mass. On the other hand, good liturgical music fosters unity in heart and mind of the faithful and gathers them in active participation in the liturgy, consistent with the spirit of the liturgy for the glory of God and the sanctification of men.

Another error is the common attitude amongst some church musicians in measuring the attendance of the congregation based on how “good” the music is. This is damaging to the growth of the faith. This attitude stems from a poor understanding of the liturgy and the role of music in the liturgy, and sometimes due to the pride on the part of the musician.

From this attitude, comes a different point of departure as they (the musicians) promulgate the idea that music should be lively (catchy tune and rhythm) and “modern” so as to attract people to worship and participate in the mass. They are missing the point. It should not be about them and certainly not to seek the approval of the listeners. It is about Christ.

Thus, when we are at the center of it all, Christ’s role diminishes.

Therefore, I would like to encourage you to take the stand of St.John the Baptist: “Christ must increase while I must decrease” Jn 3:30

Our role is to foster an atmosphere of prayer and sacred piety through good liturgical music.

A vibrant church is not a church who reacts with claps, sings and tapping of feet to sensual music, and gets excited with the external feel good factors and then only to find themselves empty when the music is no more.

Rather, a vibrant church is one who sings her prayers, responds with conviction (both verbally and bodily gestures) in the parts pertaining to them in the liturgy, and a church who has a deep sense of being church – rooted in the teachings of the magisterium, understanding the Spirit of the liturgy, awareness of the sacred and an acute sense of Divine life ever present and active in the liturgy. The vibrant church is a church who then, after mass, spreads the fruits and merits of the mass to the world bringing with them hastily the message of the gospel.

The action of music should align our minds, hearts and souls with God and our faith. It should never be allowed to derail us out of alignment. The problem here lies in mistaking the counterfeit for the real thing and the challenge is to identify it and realign ourselves with God in the holy sacrifice of the mass.

From my own personal experience, this is a process of conversion of the heart; a process that will never end. I am still very much on this never ending journey towards a continuous conversion. Yes, it is very, very challenging and difficult. However, despite it all, I feel that this journey is best enjoyed when we submit ourselves in total humility to the workings of the Holy Spirit. But this is where we as humans find that we falter, every now and then.

Many are too comfortable in their comfort zones of looking for the next emotional high. Any effort to liberate us from this state is perceived as a “joy” killer and an intimidation – and occasionally it motions to hostility.

The feel good factor is a tricky one. Everybody wants to feel good but….. how?

“How do we feel good” should be the primordial question and NOT “How good do we feel”?

It is precisely Christ himself who is the answer to this question. We ought to put Christ back into our music and into our lives. He is the source of JOY in which can be found from within for he said in Jn 15:4-5 “…Live in me as I live in you…As long as you remain in me and I in you, you bear much fruit”

Dear musicians, we ought to allow ourselves to be submerged into the “Jordan”, embracing change and new life. Let us not be like Herod and the Herods of this world, focusing on what is without when the answer lies within.

When we sing the TRUTH and sing it truthfully, rest assured we will experience the Joy of Music – from within and flows without. Ours is the voice in the desert, paving the way for Christ. This means that we will have to thrust against the grains of society and like John the Baptist, persecution will accompany us in this journey. But take heart and take courage since in our unworthiness we share in the similarities of Christ’s suffering.

A life void of suffering is a void life. For those who suffer and die in Christ will be glorified and raised on the last day.

Perhaps this is how we take solace in the seemingly inconsolable “condemnation” of: “If they persecute me and they will persecute you too” and “If the world hates you, remember that the world hated me before you”

We should take pains to cultivate this awareness to create a conducive, authentic and yet a vibrant climate for worship but first, it begins with us musicians – from within.

Dare we take this challenge lest to never discover the true joy of music.

O holy God, grant that we may do well in giving you praise through our art of music and song. Ever conform and convert us with your Spirit so that through our ministry, we may pave the way for your only begotten Son. Lord Jesus, reign in our hearts so that we may sing praises fit for a King like you. St. John the Baptist, the first martyr, pray and intercede for us for the courage to be convicted and passionate as you are, for the glory of our Lord, Jesus Christ. Amen

Good Music

Good Music

The common misconception is that all music is good because it is a matter of taste or personal liking or discourse. Hence, if you like it, therefore it is good. Suppose then if there is really such a thing as good music (not according to likeness or personal taste), then there is also such a thing as bad music. Who is to tell you what you ought to like or what is good for you? This is the very question that must be in man's mind from the very beginning of time when our first parents succumbed to the temptations and insinuations of satan - That man can be like God, deciding for himself what is good and bad. Perhaps this is the cause of the fall of humanity. (Not to be confused with the ability to judge right from wrong)

To quote from The Ratzinger Report, chapter six: The Drama of Morality, the former Prefect of the Sacred Congregation for the Doctrine of Faith said "And what looks like "liberation" turns into its opposite and shows its diabolic visage in deeds. Actually, all this has already been described with precision in the first pages of the Bible. The core of temptation for man and of his fall is contained in this programmatic statement: "You will be like God" (Gen 3:5). Like God: that means free of the law of the Creator, free of the laws of nature herself, absolute lord of one's own destiny. Man continually desires only one thing: to be his own creator and his own master. But what awaits us at the end of this road is certainly not Paradise"

As organic as music is, we have certain natural laws to abide to, since music is part of nature and part of God's creation.

This is a very complicated subject and I am afraid that I might step on your toes. Nevertheless, I should try my very best to convey to you some truths about goodness of music without being imposing, threading the waters very carefully as to avoid massive waves of ripples that might stir your anger. Perhaps, if we could go beneath the surface of things, so to speak, then we would definitely make less or no ripples at all and at the same time getting an "in-depth" understanding of the subject.

In the old days, learning music meant to learn and be taught on how to play instruments or sing. Nowadays, a new aspect which is of equal importance to music education has been included – Learning to appreciate, recognise and understand GOOD MUSIC.

To like a piece of music does not guarantee that one APPRECIATES it. However, the opposite is true. If one APPRECIATES a piece of good music then, he/she definitely likes it.

What then and how to appreciate music?

Before we can answer that, we need to understand and recognise that works of art are works of IMAGINATION. Imagination here does not imply a fantasy, fairy-tale like or wishful thinking but rather the ability to see things as they really are or potentially can be. Have you met anyone whom you dislike and then later found out how mistaken you were initially, as only after a passage of time, found out his true values and true character?

It is as well, a process of putting into form, one’s thoughts and ideas by invoking the emotions of others. For example, if I said “The sun is rising and it is getting bright”, I was merely stating a matter of fact. But a poet may say “The morrow has come, bringing forth the warmth of the sun lit skies”. He is saying the same thing as I did, with an artistic manner invoking the inner-depths of mankind’s emotions, so that one can experience in feelings and mind, the joy and beauty which morning can bring – a sense of a new beginning filled with hope and joy.

There are two kinds of imagination:

a) Creative/Productive

This is a process of reconstruction of a thought or feeling (something imagined by the mind) into words, colour and music. Sacred music then, is a combination of both, the word or literature and music. The ability to transfer and express the feeling into art form requires a high level of technique. A composer has to use suitable material as melody coupled with an intelligent use of harmony to communicate the ideas and feelings conjured through imagination. Here, there is a hint of sense of appropriateness: If any type of music is suitable for liturgy, then, there is not much technique and creative imagination involved. Does any type of music for liturgy go? ; Certainly not. Therefore, it is the composer’s task, using creative imagination to portray the right kind of thought or “feelings” to encourage the right sense of worship during the liturgy. The composer ought to see the liturgy as it really is and then recreate that in his composition.

Here I quote from Sacrosunctum Concilium of the Second Vatican Council, chapter VI on sacred music no. 112 & 121 to support the above paragraph.

“……Therefore sacred music is to be considered the more holy in proportion as it is more closely connected with the liturgical action, whether is adds delight to prayer, fosters unity of minds, or confers greater solemnity upon the sacred rites. But the Church approves of all forms of true art having the needed qualities, and admits them into Divine Worship”

The keyword is true art.

“Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful”

The keyword here is genuine sacred music.

Therefore, it goes to show that there are religious music which does not hold true and genuine to the elements of sacred music.

*Note that sacred music is definitely religious music but religious music is not necessarily sacred music*.


b) Reproductive/Reconstructive


The reproductive process of imagination is to reconstruct what was originally created by the author, painter or musician, in the specific art form. The artist ought to take upon the task of reproducing the intended thoughts, ideas or feelings. Have you ever read a novel and discovered that at the end of the novel you found yourself crying, laughing and going through an emotional roller-coaster, knowing perfectly well that it is all a fiction? It is the process of the author successfully applying the techniques at his disposal, and you reproduce in your imagination what was intended by the author. If however, you were unmoved by the novel, then it is either the inability on the part of the author or on the part of your reconstruction of the written words.

*Please note that the process of creative construction and reconstruction is not an exact science.*


APPRECIATION is the reproductive or reconstructive side of imagination.

Appreciation has three stages:

a) Crude appreciation

Crude appreciation is sensational. In our first encounter of anything, we can surmise the experience as whether we like it or dislike it. For example; imagine a man who has never tasted coffee. If he was very thirsty and you offered him a cup, he may like it. But he may appreciate it as drink and not as good coffee. Let us say you supplied him another cup of a different brew the next day. He may make a rudimentary judgment and say “I like the first cup better”.

b) Intelligent appreciation

At this stage, one has accumulated sufficient experience and an ever growing apperception-mass. Here, we have a sense of justification as well as a sense of critique though not in any formulated system of valuation.

c) Critical appreciation

Once you arrive at this stage, you can confidently criticise with a good sense of judgment. You may judge rightly or wrongly – and that depends on the caliber of your mind. However, the point of difference here, as compared to the former two stages, is that your judgments are independent of your personal likes and dislikes or discourse. This is what I termed as the mature critique.


Now we have come full circle and I hope you understand the link between good music, appreciation and likes and dislikes.

Let us then relate it to our particular ministry.
When we select, say, a hymn for communion, do we take into consideration the composer’s original intention, its thematic motive and suitability of text (lyrics)? That is the first step.

After selection we have the task to interpret it.

Do we play the selected communion hymn as we like it, without considering its purpose and context of performance? If we like it, is it because we like it for its good sound or for its value as a communion hymn?

If your answer is the latter, then you would be able to reproduce and reconstruct the hymn and interpret it the correct way, utilising the appropriate musical techniques, according to the intentions of the composer as well as to reflect the part of the mass in which the hymn is to be sung – communion procession.

*A musician should be able to mingle his own emotions with the composer’s intentions in any performances – making it possible to achieve the highest level of music interpretation and at the same time creating a unique/individualistic performance.*


Here are some guidelines to follow:

For the musicians/performer

1) Reproductive/reconstructive Imagination

Understand the composer’s intention, the lyrics and the “feelings” which the hymn/song gives.

Based on this, we can ascertain if it is suitable for entrance, offertory, communion, recessional, advent, Christmastide, lent, Easter season or ordinary time, days of obligation, feast days and memorials.

Apply the appropriate touch, technique, phrasing and interpretative skills to perform the music to the highest level of interpretation possible.


2) Critical Appreciation

In our execution of the music, we ought to deny ourselves our personal likings and be true to the composer’s intentions and the context of the music in which it was written for.

With these 2 step guideline, we can be assured we are on our way to producing GOOD MUSIC. Otherwise, we may produce bad music from a composition which is potentially so good, possessing far greater depth than one can imagine – thus a lack of imagination on our part. Lacking in imagination = Lacking in appreciation and ultimately = playing the music badly.


For the composer

1) Creative/productive Imagination

The composer has to be able to translate his ideas, thoughts and feelings by means of compositional technique.


2) Critical Appreciation

In his compositions, he must avoid the tendency to want to apply techniques which he is more accustomed to. He must dare to venture outside his comfort zone and adopt new techniques so he can effectively indulge in a higher plane of creative imagination.
The ability to do so in an in-depth manner is the catalyst for GOOD MUSIC. Failing to comply with the above would result in bad music OR not successful in reconstructing imagination, hence, the listener will not be able to recognise the emotions or intentions of the composer.


Ultimately, art in each of its respective form, should reach the feelings (heart) via the understanding (mind). And it is the responsibility of both the composer and performer/listener to play their roles respectively. Neither should allow their personal likings and dislikes to override correct judgment.

When one is able to appreciate then he can interpret it accurately.

As a recapitulation, I would like to bring to mind, my earlier statement of:

“To like a piece of music does not guarantee that one APPRECIATES it. However, the opposite is true. If one APPRECIATES a piece of good music then, he/she definitely likes it”.

And….There is such a thing as GOOD MUSIC and BAD MUSIC. It is imperative that we learn to differentiate between the two. We keep the GOOD MUSIC, discard or improve the quality of BAD MUSIC.

St. Thomas of Aquinas, the doctor of the church has taught in depth on beauty. Beauty is both objective and subjective at the same time. Neither the objective nor subjective can stand alone. When we select hymns, apart from the Gregorian chants or sacred polyphony which the Church authority (Apostolic See, Bishop’s Conferences or local ordinary) has officially approved in the Roman Graduale, Simple Graduale and etc, we must apply the understanding which is guided by what was laid out above.

As such, in the final analysis, when we can APPRECIATE GOOD MUSIC for what it truly is, then we will like it - anyway.


Dear God, we pray that you send us your Holy Spirit to enlighten us with holy wisdom, knowledge and piety so that we may be true to our calling in our service to you. May you bestow upon us your grace and courage so that we may learn to put away our personal likings, dislikes and idiosyncrasies, conforming to the Spirit of the liturgy as proposed, cultivated and promoted by Holy Mother church for your glory and our sanctification. Saint Thomas Aquinas, pray for us. Amen.

Vertical Horizon

Vertical Horizon

Vertical horizon. Already, the title sets the precedence for a paradoxical writing throughout the content of this letter. As we know it, paradoxes almost always reveal a truth or message or to drive in a point using the art of contradiction.

Incidentally, the first rule of art is contrast.

Whereas the christian faith is a religion of paradoxes.

Let me refresh you with some quotes from the gospel, citing the words of Christ himself.

The Sermon on the Mount

(Matt 5:3-4)

"Happy are those who know they are spiritually poor; the Kingdom of heaven belongs to them!"
"Happy are those who mourn; God will comfort them!"

Matt 5:10-11

"Happy are those who are persecuted because they do what God requires; the Kingdom of heaven belongs to them!"
"Happy are you when people insult you and persecute you and tell all kinds of evil lies against you because you are my followers"

And needless to mention the countless paradoxical examples Christ have taught us. The infamous one;

"Those who wants to be first must be last" (I am paraphrasing)

Enough quoted as this essay is not a treatment of scripture knowledge. Let us refocus on the point of content, which is music.


When the sun sets in Malaysia, it reaches its peak of noon in London. Therefore, a British only needs to look vertically upwards while a Malaysian look horizontally towards the west and they would be gazing at the same sun. They would face different directions yet arrive at the same point. Both their eyes would "meet" at the "fulcrum" which is the sun. The same sun which sustains life and provides light for Mother earth and her creatures.

The same truth also applies with the SON, the logos, the Word made flesh, the Incarnate Deity, the Messiah, the Christ.

When the Son of Man is lifted up just as Moses lifted up the bronx serpent in the desert, so shall all men gaze upon this Fulcrum which holds the weight of the world as well as one which gives life and light to all. The Cross of redemption, paid in full all our debts is the Vertical Horizon. The fundamental instrument of our very salvation and the ultimate expression of self giving love. A sacrificial love. That ONE should die for the atonement of sins and for the goodness of others.

V

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H O R I Z O N

T

I

C

A

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Now, since we are saved by the cross, all shall bear their crosses in anticipation of their redemption every hour, every moment and every day of our lives and in every aspect of human living. To be humane is then to carry ones cross and vice versa.

As such, we ought to carry our crosses even as musicians.

How do we do so?It is this area that I wish to dwell deeper and further in this letter.

But firstly, let us explore the vertical horizon of the music itself, before we analyse the vertical horizon of the musician.


Vertical Horizon - The Music

The vertical part of music represents;

1. Technique
   
   1. Phrasing
      
   2. Dynamics
      
   3. Tonal gradation (gradually getting louder and softer, musical colours)
      
   4. Good tone quality
      
   5. Touch
      
   6. Articulation (smooth and detach playing)
      
   7. Objective (ie, tonality, compositional technique, etc etc)
   
   
   
2. Notation (see essay "Notation Or Imitation")
   
   1. Notes
      
   2. Time/tempo
      
   3. Rhythm
   
   

However, if the performer(s) or performance, lack in the horizontal aspects, then, the music would be nothing more than just mechanical rendering of notes. This means the performer(s) or performance is lacking in, or is totally without the essential elements that makes music, MUSIC - no matter how accurate the performer may be in the vertical aspects of music as stated above.

To simply put it, mechanical rendering of notes implies that, a music performance that has no "life" nor substance OR lacking in depth.

You can not really distinguish if the music has a horizontal movement just by listening to a single note. It is in the succession of notes from beginning to the end of the music where one fully detect whether or not the music flows horizontally.

Having said that, the vertical aspects must be sorted out and mastered before the music can take shape, mature and develop towards a horizontal movement. Without which, one can not fully achieve the horizontal movement in the music although he/she has what it takes to bring out that aspect of music.

The ears can only listen what the mind knows.

When the vertical is coupled with the horizontal, you get beautiful transcending music. It is like submerging yourself so deeply into the music with your own emotions mingling with the intentions of the composer, yet, with every technical tool to your disposal. A complete authority over the music.

The below formula explains in a nut shell what the previous paragraphs meant:

Vertical + horizontal = Beautiful transcending music.

Vertical + 0(horizontal) = Mechanical rendering of notes.

0(Vertical) = No music, therefore not possible for Horizontal to take place.


What are the aspects that contribute to the horizontal movement of music? It is difficult to explain or pin-point what exactly brings forth this essential elements of vitality to music. However, I will mention the four major aspects here.

1. Maturity (It can not be taught)
   
   
2. Musical awareness/Musical knowledge
   
   1. Forms
      
   2. Features
      
   3. Stylistic traits of composers
      
   4. Era/genre
      
   5. Structure
      
   
   
3. Depth of interpretation
   
   
4. Talent/musicality (of course, and it can not be taught either. But if one has the talent, then how to help bring it forth and further develop it? That is the task of the teacher (tutor, professor, conductor, director). There are many ways of course, and everyone respond, grasp and develop differently.
   

You need all the above aspects in order to create a full flow of horizontal line/movement in music.

Let me offer you an explanation on one of these aspects. a)Maturity. No, its not maturity in age or wisdom, although they are important to the ever developing musician. Maturity here means the maturity of the finish product - namely, the performance of the music.

Like wine, it gets better with time. So, with time, the music becomes more matured. The music embodies a certain special flavour which never was there in the first place.

Like Besie always says, in a humorous way yet with such serious implications to the meaning of maturity, "Your mother's herbal soup that has been boiling for 10 hours definitely taste better than if it was boiled for only 1 hour." Well, you get the point now.

In other words, practise, practise, practise, practise, practise, practise, practise, practise....you'll never know when full maturity comes.

Now, I will use pictorial/textual illustration to give you a deeper insight to the difference between Vertical line and Horizontal line.

Purely Vertical:

Pater Noster, Qui es in caelis

Notice the rigidity in the letters and the phrase itself. There's no forward movement in the text above.

In music, this would translate to stiffness and mechanical performance.

Vertical & Horizontal:

Pater Noster, Qui es in caelis

Here instead, you'd notice that there is a horizontal flow that directs your eyes toward the next letter and word. There is a certain sense of fluidity.

Similarly, when it comes to music, you need to create this horizontal movement so that there is life in your music.


Vertical Horizon - The Musician


The eastern fathers always teach about the vertical relationship with Christ and the horizontal relationship with men.

One needs to establish this vertical/direct relationship with Jesus before he can successfully bear good fruits in his horizontal relationship with others around him. This brings to mind the commandments of Jesus.

1) Love the Lord your God with all your mind, heart and soul.
2) Love your neighbour as yourself.

How can you truly love your neighbour or maintain a healthy relationship with others without first being in love with God? The love here that I am speaking about is the ultimate self sacrificial love. Even the eros love between husband and wife ought to be a sacrificial one. Your relationship with mankind deepens in proportion to your relationship with God.

Let us now piece this with the formula given out as above:

Vertical + horizontal = Beautiful transcending music.

When we begin to love Jesus and his people, the world would be a more beautiful place to live in.

Vertical + 0(horizontal) = Mechanical rendering of notes.

If we claim to love Jesus but not show charity to others, then what are you? Jesus would then ask you "When I was hungry, you did not feed me; when I was thirsty, you did not give me drink; when I was naked you did not clothe me...etc"

"What you did for others, you did it for me"

Is that how we ought to live our lives? Selfishly keeping Christ's love just to ourselves?


0(Vertical) = No music, therefore not possible for Horizontal to take place.

This formula is self explanatory.

So let us all be encouraged to bring Christ back into our music. Let every note that we produce be both vertical and horizontal at the same time. Let there be life in our music. Let the music transcend God's people to higher, holier and heavenly things. This can be possible if only we place the cross (vertical horizon) of Christ in the music we make.

The cross in itself has no meaning without Christ's death. Therefore, we need to die on our own crosses to our selfishness and pride. Die to the tendency to want to do what we desire and instead do what God wills. Lets take our selfish pride away when we serve God through our music.

Let every note resound the redemption work of Christ's through the cross. As such, our music would truly serve the people. This is how we can restore the true spirit of liturgy in our particular ministry because the liturgy is the work of God at hand. The central, pinnacle and climax of the liturgy is the Eucharist, which is the actual but yet perpetual sacrifice (during the last supper) of what was to come - the bloody sacrifice on the cross.

But where's the paradox is this? It is precisely the fact that one must die before he attains life. New life that is.

You need to put your own personal preference aside and focus on the music. The interpretation of the music must be true, good and beautiful whether it be for liturgy or not. It is difficult to shed all the years of being moulded by a certain way of playing and adapt a different style(approach) altogether. Yes, it is so difficult because it is a call to renounce a set of perceived beliefs; believing that what we are doing is right. But this cross that we carry will bring us to the death of our own idiosyncrasies - and then together, we shall rise to new musical heights and new life.

Alas, it is in this new height and new plane of musicianship that we find true artistic freedom which we set out to attain in the very first place - which is our own personal musical preferences, but without distorting the interpretation of the music because this new personal preference is now guided by what is True, Good and Beautiful. New life, pure music.

Dear musicians, embrace the Vertical Horizon in your quest for music. New life as a musician, pure music we produce.

Almighty Father, we do well always and everywhere to give you thanks and praise through Jesus Christ your son, our Lord and redeemer. Send your Holy Spirit upon us so that we might receive strength and courage to carry our crosses as Jesus himself has requested of us. Amen.

Notation Or Imitation

Notation Or Imitation?

Peace be to you!

We are often under the impression that to play music by ear is an outstanding feat. One would be considered "gifted" or more talented than others if they possess this skill.

Perhaps in many ways, these musicians appear to be more skillful and are more admired by the vast majority. On the contrary, musicians who rely solely on notation when playing music are considered as less skillful. They are usually seen as dependable musicians who are in need of a "walking stick". The general public readily classifies them as incompetent artist. These "dark" thoughts lurk behind every human mind though they (the majority) may not consciously or openly admit it.

Why I used the word "dark"? It is because these type of thinking needs the shedding of light so we can see its perspective from the side of truth. It needs to be brought out to the open to the light so that we can better understand the concepts of play by notation or what I would say "play by sight". A deeper understanding is necessary so that we can put a stop to the bias stereotyping of talented and not - so -talented musicians based on these 2 concepts - "play be ear" and "play by sight".

Some predominantly play by ear but, at the same time, can read music to a certain degree (the degree then varies between individuals) and vice versa. For the sake of discussion, I will described the 2 concepts in such separative manner because my intention was to display the distinction between the 2 skills. Of course, there are many who harness both skills equally too.

To play by sight is an absolutely demanding task. It demands a great deal of comprehension and concentration from the musician. An intricate process in itself.

A musician reads the notes, digest and interpret what the eyes captured through the complex workings of the human mind, and then the brain fires out signals to the muscles involved in the production of a collective set/sequence/types of sound which in turn becomes what we call MUSIC.

Amusing? Certainly so. It is a muse and what amuses us is MUSE -ic. Music comes from the word muse.

Now, let us draw a parallel to literature.

There are those who can tell a story impromptu, or create one, or convey one with perfect communication but may not read or write the language.

On the contrary, there are many learned individuals who can read and write but may not be very good public speakers.

In fact, both playing by ear and playing by sight are equally important and equally challenging. The importance of play by ear skill is quite apparent. Since it is so obvious, there is no need to mention here.

Now, let us examine the skill of play by sight deeper.

Imagine if the apostles did not leave any writings behind. How can there be full unity? Many will make contradictory statements and then claim it to be made by the apostles. Even if everyone then understood the teachings of the apostles clearly, how can they pass on any of the knowledge which they attained accurately to future generations if nothing was put into writing. Surely, certain facts may have been forgotten.

Even if one wishes to put into writing, it may not be possible for him to jot everything down let alone passing the entire tradition by rote! This is evident when John wrote in his gospel:

John 21:25 "Now, there were many things that Jesus did. If they were all written down one by one, I suppose that the whole world could not hold the books that would be written"

Therefore, in this context, if all of us were competent in reading musical notes, then it is possible for the Music Ministry to achieve a certain level of unity. Not necessarily the unity in relationship but rather, unity in music. We would be able to explore new works and move out of our comfort zone without leaving anyone behind because we are united in the notes that we read. Music notation is like lighted candles placed at every step of a stairway (in the dark) so as to give us light to guide our sight.

Each member of an orchestra is able to communicate well with one another precisely because they can "read" each other. They can see what they hear/play, thus giving them a sense of direction and unity.

Secondly, it would be easier for each of us to gel so to speak in our practises. We are able to plan ahead on how to phrase the music or how to interpret them simply because now we can "see" (like the lighted candles giving light)

We become more aware of which part of the music we ought to play louder, or stop playing, or lead, or simply just playing the accompaniment.

One of the reasons we don't do this in great length is because we cannot fully determine the above as there are no notes to refer to. Even if there were, not everybody is able to read them.

Typically, someone gives the introduction, then all come in and everyone just play as he or she wishes according to the chords until the end of the music.

Hence, we need notation to guide us and give us a sense of direction. We need the written notes to steer us into the right direction.

Thirdly, when everyone is able to read notes, we become more adaptable. We are then able to learn new songs in a shorter space of time and shorten the time needed to gain maturity of the piece. We are then able to extend and widen our repertoire in sacred music easily without fret. Would you not think so?

When we play music together, we need a system to follow so that we will always be on the same page. The current system which we apply today is somewhat inadequate if we would want to better our interpretation of music. If we are satisfied with what we have right now in our quality of playing sacred music, then there is no need to explore further.

However, if we would like to improve, we can start with the basics - reading notes. Learn to read notes. It is quite simple. You can enroll for lessons.

Discuss with your potential tutor on how you would like to schedule your lessons. Once in 1 month or once in 1 week. The choice is yours. Flexibility is the key to learning.

May God bless you in your endeavour to acquire the knowledge needed for the progress of doing God's work. God willing. Amen.

Silence Is Golden

Silence is Golden

I borrowed the title from the ever so popular adage. But now, I will alter it to suit our discussion topic. My modification will be "Silence is Music".

Truly indeed, silence is music. There are 2 types of musical silence.

1) Unplayed silence
2) Played silence


Unplayed silence

Unplayed silence is the kind of silence which exist before the music begins and after the music ends. In other words, this type of silence is not notated in the scored.

It is also the type of silence which exist between movements of a piece of music, between variations of a piece, between 2 or more piece which are to be played consecutively and between the different sections or scenes within a single piece of music.

However, this type of silence must be well timed. Too long in silence can distort the flow of the music. There will be a kind of discontinuity or a sense of displacement. This is where musical awareness and musicality is applied to achieve the right timing to maximise the true potential of beauty of music.


Played silence.

Played silence are silence that exist anywhere between the 1st to the last note of the music.

This type of silence are notated with rests written in the music.

Once a composer wrote a piece of music for piano to bring home this point by means of exaggeration. The whole music is made up of rests. He went up on stage, sat the piano, placed his hands on the keyboard, and not played a single note during the entire duration of the the piece, say, about 3 minutes (can't remember the exact timing). When the 3 minutes is up, he stood up, bow to the audiences and left the stage!!!

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Silence can create anticipation and gives time for assimilation and time for the meaning of the music to sink in. It also helps build up tension, climaxes and further intensifies the music. That is why composers use rest so silence can be played.

Rest also provides time for breathing and yes, rest.

The silence spent before the piece of music begins, gives musician the time to,

think, prepare and play - thus helping them to start the music confidently with the appropriate mood and stance. Otherwise, it will result in a hasty and shaky start and the musician will not have time to engage into the emotions and mood of the music. On the other extreme, too long a time spent in this peaceful silence will create a sluggish and not confident performance.

I had the blessed opportunity to observe how Hannu Lintu (conductor, google him), just the other day, directed the orchestra and the audiences into this unplayed silence at the end of the Rautavaara's Cantus Articus, Concerto for Birds and Orchestra.

After the last note was executed, he slowly dropped his hands from above his head to the sides of his thighs, as if to allow the final note (which is no more audible) to reverberate throughout the concert hall and saturate our senses and giving time for the music to sink in. This brief but intense moment of silence recapitulates whatever we have heard since the beginning of the music, helping us to draw the right conclusions.

The audiences held back their applause and when the silence is over, all clapped at the same time as if we could read each other's and Mr. Lintu's mind.

This unity was also made possible because of Lintu's effectiveness in his communication via his musical prowess.

The same effects can be found in played silence too.

How can we utilise this silence in liturgical or sacred music? Well, the silence in-between the Kyrie and Gloria is one example. Or transition from certain prayers to hymns and vice versa. And many more.

The Christian faith appreciates silence. The silence we have during the intercessory prayer, moments before offertory, after communion and the infamous 15 minute silence before mass after the alter candle is lit. *This 15 minute silence is an unplayed silence of the mass, to help draw the congregation to immerse fully in self surrender in the liturgy - the true worship of God which is self surrender, to simply give ourselves over to being transformed by God Himself.

If we look closely into the life of Christ, we can see how the Good Shepherd enjoys peace and quite. After every sermon or miracle wonder performed, he walks away from the hustle of life, up on the hills/mountains/other side of the lake to commune with His Father, in silence.

This Christological view of our faith shows us how important silence is. There is so much communication that takes place in the moment of silence. "Be still and know that I am God"

If you have been for a silent retreat you would understand this better. If you have not, I would encourage you to do so.

We are in a society of rush, quick, fast paced, quick time, fast foods, instant gratification and keeping up with Jones's that we forget to take time to "smell the roses" - that we cannot bear the silence. This inevitably is reflected in our attitude towards sacred music. Everything must be fast, fast, fast. Not everything must be fast though. We do not take time to pronounce our words anymore when we sing. Therefore, it affects our diction.

Another way of looking at played silence is this:

Sometimes, certain musical instrument must play silence in certain parts of the music during the course of the music itself.

Some instruments need to take a "back seat" momentarily and then joins in the other instruments again at the appropriate or agreed place in the music. And of course, there are exceptions whereby it is appropriate or musical for all to come in at the same time.

Let me try to give a suitable metaphor to explain this. When we eat in a fancy restaurant, foods are categorised in the menu as the below;

1) Drinks
2) Starters
3) Entrees
4) Deserts

The waiter will take your order and served them according to the above line-up. Imagine if all 4 categories are served in one plate, all mixed and blended up together. How would you enjoy your meal then? I bet your taste buds will suffer from abuse. I hope I make sense here.

Therefore we need to work out something during practices to determine the flow of instrumentation. This helps bring out the luminous effect of music to heighten liturgical worship. We need to know when to play and when not to play.

Some instruments take the lead (play the melody) and in the next verse, another set of instruments takes over. And at times, no instruments should play the melody at all, but purely just playing accompaniment parts.

Every hymn has a different set of instrumental combination and must be decided according to the style of music and also to the creativity of the musicians. All these should be worked out during practices.

There is no one way of doing it...only a musical way. By this I mean that as long as it is musical then, highly likely it will sound good.

And there is no fix combination. As long as the combination is musical and does justice to the inner meaning of the music, we can consider.

We need to discern; - wisely.

We pray for wisdom of discernment and a courage to submit to the silence in which you take pleasure in speaking to us. Give us a sense of understanding how important it is to dwell in this silence which is yours to give. Please supply us with opportunities to dwell in silence everyday of our lives. Through Mary's hands we offer up our humble supplication. Amen.

* This 15 minute silence before mass is practised in the Church of St. Thomas More.