TCATS #435 - Questions With No Answers

Being in the Choir now eight years, there are a few questions I've had that seemingly have no answers. And if there ARE answers, I'm not sure who to ask or how to find them. None of these questions are really that big of deal and in the grand scheme of things, they're almost not even worth mentioning. But, as I was thinking about what to write about for today, I thought it might be kind of fun to just mention these questions that pop up in my head every so often on an irregular rotation cycle. So here we go. 

The top ten inconsequential questions with elusive answers (in no particular order).

10. Why is it, exactly, that we start Sunday morning rehearsal at the odd time of 7:25? One would think maybe 7:15 or 7:30. But no, it's 7:25.

9. Why do the men have to double-button their suit coats? The former seating manager and the new one regularly stands in front of the guys holding up two fingers, meaning to button both buttons. From the Business Insider website, we find this interesting fashion advice: "There's a basic rule when it comes to buttoning up a suit jacket: "Sometimes, Always, Never" — if you have a three-buttoned jacket, sometimes button the top one, always button the middle one, and never button the bottom one.  In a two-buttoned suit, you should always button the top button and never the second. Regardless, no matter what kind of suit you're wearing, the bottom button should never be buttoned up."  Hmmmm. 

8. During Music & the Spoken Word, there's always an organ solo in between choir songs. And without fail, it's always a big deal that the Choir sit very slowly without making any sound, during that solo. But why sit at all? At most, our sitting time is maybe 2 minutes. And the fact that we have another sitting break coming up in the broadcast when Lloyd Newell gives the spoken word means that we really don't need that first sitting break. There are times on tour and in concerts when we stand for very LONG stretches of time, certainly much longer than 15-20 min. It would refreshing to never have to fuss about the issue again and that the standard we follow is to just stand for the organ solo.

7. Guests come in to watch us rehearse Thursday evenings and we've started to greet them formally again (after the long covid break where routines got disrupted). But why does the conductor turn around and officially welcome them when the rehearsal is 3/4th of the way over? Most of the guests have left by then anyway so it almost seems pointless.

6. During every rehearsal, each song we sing is recorded at some point so that the team putting together the program for Sunday knows how long each song is and how much over-roll they need to put in and generally how to make things fit nicely into the 28 min. window. Each time we're about to record, why does the director say "Let's 'tape and time' this." ? There's no tape involved. It's all digital. 

5. As with all Church-affiliated institutions, the Choir doesn't permit men to wear beards. Why is this exactly? Ironically, men with beards who meet standards of worthiness can enter the most holy of places (the church's temples), but they can't sing with them in the Choir. And they can't attend BYU with them, and they can't be a missionary with them.....etc. etc.

4. The men's suits have four colors: Black, Dark Grey, Dark Blue, and Dark Blue again (the "Blazer" with famous pop-off button issues). I realize I have no formal training in how to make a large choir look good under the lights, but is having a light colored suit really going to mess up our "look"? As they stand today, the suits are so similar in color, we often have to look at the tag inside them to know exactly which one we need to put on. 

3. More and more, we've seen members of the orchestra use tablets to read their music off of. These seem extremely handy. And working in the music library, I know first hand how time consuming it is to manage all of the sheet music. Is there a particular reason we can't use tablets to learn music from? These would come pre-loaded with all of the music in the entire library and we'd simply pull up what we needed, when we needed it. I almost become giddy with excitement just thinking about it!

2. Why, again, do we not have a "suggestion box"? I know we've been told that since the Choir organization has been in existence for so long, they've thought about everything and always do things for important reasons. While I honestly appreciate that point of view and believe it 95% of the time, I do think choir members have valid suggestions from time to time. Heck, those suggestions don't even need to be answered. Just submitting them and knowing someone actually reads them would be validating enough.

1. Wondering why the wives of the choir presidency never get to be the ones to greet us Thursday nights and Sunday mornings? I'd love to hear more from them, including spiritual thoughts (that are normally shared by their husbands) and how they've helped to contribute to the mission of the Choir.

Please know these aren't gripes or things I get really upset about. Overall, there are so many great things about singing in the Choir that these smaller annoyances aren't that big of deal. No organization is perfect. But the mind is sometimes curious, you know? It wants answers. And while I don't expect to ever get answers to these particular questions, I'm grateful for the therapeutic excercise of typing them up! 

Thanks!

Until next time, God be with you.

TCATS #434 - Foundations of Love

As Utah (primarily) and others throughout the world commemorate the arrival of the Latter-day Saint pioneers to the Salt Lake valley today, I'm tasked with taking some time to truly think about what this day means for me personally. Part of that "thinking about" experience includes recognizing that most of my ancestors from several generations back, were individuals who chose to join the Church of Jesus Christ of Latter-day Saints and thereby accept everything that went along with that choice. In some cases that included leaving their homes in England to come to where the main body of the Saints were in Ohio or Illinois. For most cases, whether immigrants or not, they faced persecution, endured hardships, made sacrifices, and traveled thousands of miles in harsh conditions to finally get to Utah. 

One attribute that I'm positive made all of the difference for them was LOVE. They loved God and their Savior Jesus Christ and their faith in them propelled them forward and made their sacrifices worth it. They loved their fellow brothers and sisters which allowed them to rely on each other when times were tough (and celebrate when times were joyful). And they also loved members of their immediate family--which love was probably the most crucial of all when it came right down to it. 

The Choir just performed a concert last weekend that had love as its theme. I wasn't able to be part of that experience, but I watched the concert later and really appreciated its timely message. (If you haven't seen it yet, I'd highly encourage you to take 1 hour and watch/listen to it) Today, instead of Music & the Spoken Word having the theme of "remembering the pioneers" (which is usually the case this time of year), it instead focused on love, again, and specifically love within families. I appreciated this programming decision as there were certainly plenty of listeners out there who connected more with the theme of love in families instead of remembering pioneers. The beauty of all of the songs we sang today, though, was that they simultaneously related to both themes. "Come, Come Ye Saints", and "They the Builders of the Nation" obviously speak to latter-day saints' pioneer heritage. But the lyrics touch on themes that have love at their roots and can be applied to everyone who's trying to move forward with faith. One of my favorite songs today was "Where Love Is"--not necessarily because I love that song from a musicality standpoint--but it was the way we sang it. In fact, I think this was a Music & Spoken Word FIRST. We all walked towards the center of our respective rows while those in the front went down on the small podium, surrounding Bro. Wilberg and the two orchestra players who joined us playing the harp and the flute. It made for a very intimate rendition of this song. We did this sort of thing for one of the numbers at our last Christmas Concert. But I don't ever remember doing it during a weekly broadcast. At any rate, it was a nice experience and it made me feel like we were more of a choir "family". 

I hope that all of us, just like the pioneers, can center our lives on love. Whether it's loving God or whatever higher power you believe in, loving our neighbors, or loving our immediate (and I'd add, our extended) family members, I know we'll feel happier and probably feel that beautiful feeling of being loved in return. 

And truly, there's no better feeling than to give and receive love.

Until next time, God be with you.

TCATS #433 - Love Thy Neighbor

Two quick things I wanted to share today.

First, I really enjoyed just observing/listening to the broadcast today. As I didn't attend Thursday night's rehearsal, I wasn't eligible to sing in the broadcast. But every so often, it's nice to sit down where the audience sits and see the broadcast from their point of view. It's also fascinating to see how it all comes together from a technical standpoint--all the camera crew working in harmony to provide the myriad of shots and image angles; the support crew making sure the timing happens perfectly and the directors are given the info they need; the sound crew adjusting levels on hundreds of microphones.... the list goes on. That said, the music itself, along with the spoken word today that was all about loving our neighbors, was top notch.

Speaking of loving our neighbors, EVERYONE is invited to participate in this week's concert which is based on the theme LOVE THY NEIGHBOR. There are plenty of tickets left for those who are in the Utah area and want to see it in-person, either Friday night or Saturday night. The other option is to stream it--which you can do by going to the link above and scrolling down to the "Where to Watch" section. 

Some have been asking who the special guest artist is for the concert--since traditionally there has been one. Interestingly enough, not much as been said about the guest artist for this concert--at least not to the choir directly. But on the page linked above, it does mention that there will be a baritone soloist joining us (Shea Owens) and I'm sure he'll do an amazing job.

The theme of this concert couldn't be more timely. Most of the conflicts, tragic events, political discord, disrespect, and divisiveness in the world today all have one thing in common: they believe in hating thy neighbor. The choir's hope is to counteract that by focusing on just the opposite. Please take some time to watch this concert and share its message with others--maybe focusing on those who are holding grudges, working through anger, or don't have a lot of light in their lives right now. We feel this concert can help.

Here's a quick trailer of what you may expect. Feel free to share!

Until next time, God be with you.

TCATS #432 - America from the Outside

Often times my attitude towards the Tabernacle Choir is, to be honest, a self-centered and critical one. "What is the Choir doing for me personally? How come the Choir is doing this or that (and do I agree or disagree)? How come they don't see what I'm seeing? Why is the Choir falling short of my expectations?" 

And so it goes. I'm not proud of that attitude and I try and switch it around when I consciously realize what I'm doing. But then there are times I consciously CHOOSE to be critical.

This week was one of those weeks. At least, it started out that way.

One of the facts that is always on my mind is that the Tabernacle Choir should represent all members of the Church of Jesus Christ of Latter-day Saints, wherever they might be. Since over half the membership of the Church is outside the United States, I can't help but cringe when we devote a whole broadcast to singing about America. It'd be one thing if we sang about such topics as freedom, liberty, justice, following your dreams, unification, brotherhood/sisterhood, etc. without specifying a country. These are universal themes the cross nationalities and cultures. But when we sing "America, America, God shed His grace on thee," (along with the rest of the lyrics), it just seems we are more exclusionary than inclusionary.

So, because I was a bit miffed we were spending our 30 min broadcast singing about America, AND I wasn't feeling very patriotic anyway, I was all poised to not participate.  But the day before rehearsal, I changed my mind. My sense of duty kicked in (much like Frederic in Pirates of Penzance) and it just made me feel better once the decision was made to participate.

As Thursday and Sunday unfolded, I started to think about a few things.

Could there be people listening to the broadcast who...

...needed to be reminded of the ideal America? 

...wanted to feel the peace from recalling patriotic memories of yesteryear?

... had loved ones who had lost their lives defending the freedoms of this nation?

...simply needed some hope that despite all of America's issues, justice, truth, and freedom could prevail?

...just wanted to enjoy the music not so much for its meaning, but simply from a musicality standpoint? (some of these patriotic pieces are full of emotion and inspiration!)

Ryan Murphy shared with us that his mom, who's from Belgium, absolutely loves this yearly patriotic broadcast because to her, it reminds her of how much joy she and others felt with American soldiers came and liberated them from the Germans during WW2. That got me thinking about another subset of people living in various countries who are thankful for what the US did for them at some point in time.  

Anyway, not to draw this out, but I just gained a better appreciation for what this US-centric broadcast might mean to people all over the world. It might be very positive for them, for reasons listed above and several others I'm sure. And looking at everything from this new lens made the broadcast itself ever the more meaningful and enjoyable to be a part of.

Moral of the story? Try to see the bigger picture. Yes, experiences are about you and that's awesome. But they are so much more, too. 

Until next time, God be with you. 

TCATS #431 - Finding the Good

The one particularly special thing about today's Music & the Spoken Word performance, was that we had the opportunity to perform a Spanish piece--a piece that, from what I've heard, in pretty popular in Hispanic circles. I did a search for it on YouTube and got at least a dozen hits so I think defining it as "popular" can be confirmed. It's called "ALABARÉ" and the version we sang today was arranged by none other than our director Mack Wilberg. I don't think I really loved the piece from a musicality standpoint, but I loved performing it because I just get excited to share music that resonates with people who either speak a different language or live in another country or both. 

The last piece on today's program is one that I really, really didn't like. And as much as I try (really hard!) to take the high road and remember that it's not about me, that we're singing these songs for other people, that songs I personally don't like might very well be someone else's favorite (or the one that inspires them the most), that I need to re-invent the experience each time, etc. etc., sometimes I just fail at that and sort of put on a fake happy smile and just sing the song without much enthusiasm or conviction. Such is what happened today. "On Great Lone Hills", one of the songs from the choral work "Finlandia", is actually a song that's familiar to many people since the hymn "Be Still My Soul" is based on the same tune. I take issue with the song for two reasons. First, the song starts out with this big orchestral intro full of strings and horns and percussion. It's almost like the beginning of one of those Sousa marches. Very grand. That's not my issue. My issue is that it deceptively draws the audience in and leads them to believe that the rest of the song will be just as exciting. BUZZ. Nope. Suddenly the tempo drops, the orchestrations pull way back and the choir sort of plods along singing the song (which leads to the second reason: plodding along). To me it's just sort of...well...boring. At any rate, just as the audience is surely about to fall asleep, the orchestration picks up again and we end with a bang. (For anyone who loves this song, my sincerest apologies. I certainly respect your right to love whatever song you want to love!)

As I left Choir and was thinking all day what to write about in this blog entry, I thought "You know, I should find something good about "On Great Lone Hills" and expound on it." And why not? I think it's a good exercise for all of us to try and find something good in all situations and in all people we interact with. Wouldn't you agree? So after thinking about it, I went to the lyrics of the song and found a few words that actually resonated with me: "all crowned with light."

I believe that most people are crowned with a degree of light. And in this world that is becoming more divisive and divided than ever (a lot of which we've witnessed this weekend), there's no better time to remember God's second great commandment to love others. We don't need to agree with them or endorse their beliefs. But we can accept them by seeing and acknowledging their light--no matter how small it is or how different a hue it is.

We can respect them. 

We can try to find common ground with meaningful conversation and an understanding heart. 

So I hope we can all do that.  

Until next time, God be with you.

TCATS #430 - Promises

A heartfelt kudos to all the fathers out there who work hard each day to do their best! Thanks for your efforts. And for those who aren't fathers yet or who might not be for one reason or another, I'd bet 10 to 1 you have plenty of father-like attributes that you employ in different ways within your sphere of influence. 

As the day is almost done and I'm really tired, I'm going to make this a quick entry. Ever since I first sang Ryan Murphy's arrangement of STANDING ON THE PROMISES, it's made an everlasting impression on me. Walking the covenant path within the Gospel of Jesus Christ is what it's all about and this song helps remind me not only why the path is important, but the blessings that result when that walk is made each and every day. 

Today as I sang this song, I just felt a renewed sense of hope that everything would work out in the end. 

My favorite moment in the song is at the end when the orchestra is at its fullest and we're singing full voice: "Standing on the promises! Standing on the promises! Standing on the pro-mi-ses of God." It's like everyone at that moment is just singing with their whole heart and soul and it produces all the feels. 

You've been hereby challenged to look for ways that you can stand more firmly in your beliefs--however that looks to you.

Until next time, God be with you.

 

PS: Links below to listen to this song:

Spotify: https://open.spotify.com/track/4vXQvthIlV0BzNh97x6Sam?si=28eab3a4b3f24d22

Apple: https://music.apple.com/us/album/standing-on-the-promises/1452638314?i=1452639468

Youtube: https://www.youtube.com/watch?v=__DTGtQy5H4

TCATS #429 - The Murphy Show

The last time Ryan Murphy ran the Tabernacle Choir & Orchestra "show" completely, was a really long time ago. So long ago that I'm not even sure when it was. Typically Ryan will conduct one or two songs on a broadcast and then will be given the last 20 minutes of a Thursday or Sunday rehearsal to take us through various upcoming pieces that he'll be directing. But this week, Ryan directed all of Thursday's rehearsal and then did both the broadcast today and the extra rehearsal afterwards. (Where Mack was, the Choir wasn't told)

While there are several commonalities between Wilberg and Murphy (they are both musically brilliant, work us hard, compose and arrange pieces we love, and have ears that catch the slightest of intonation issues-- which sometimes drive us crazy), they are different in a few significant ways. As I was thinking about what ways those were, a friend of mine brought up this topic on his own accord and it was interesting to find out that his perspective and observations largely matched up with mine. 

Rather than compare and contrast though (since I don't want this to come across as one is better than the other), I'll just focus on some things I enjoy about Ryan Murphy.

My admiration and respect for Ryan started back in my BYU Concert Choir days. Ryan was in the Choir with me, but rather than contributing to the choir by using his awesome tenor voice, he usually acted in the capacity of accompanist. I thought on more than one occasion how talented he was. 

Coming into the Tabernacle Choir almost 20 years later, it was fun to see him in a director role. While Ryan doesn't waste any time in rehearsals, he does take the time to give us back stories of the songs we're singing. I REALLY appreciate that. Knowing the back story of a song (why it was written, who it was written for, etc.) makes singing it all the more rewarding. Along with back stories, we sometimes get personal commentary on why certain songs mean so much to Ryan. These commentaries and personal experiences also really enhance the songs we sing because we can often relate to them ourselves.

Another thing about Ryan I like is he'll spontaneously start playing on the piano some song from the 80s--just for fun. Like on Thursday, right after rehearsing one our upcoming numbers, the clock happened to strike 9 PM and Ryan started playing Billy Joel's "Piano Man". And of course many in the Choir started singing "It's nine o'clock on a Saturday, the regular crowd shuffles in...". That's as far as we got, but it was fun. I often think how awesome it would be to have an 80s sing-a-long with Ryan, haha. But I digress...

One hope I have, should Ryan ever become the main director for the Choir one day, is that he'll work on refreshing the songs we sing that are tied to musicals. I love "Climb Every Mountain" (Sound of Music) and "Tonight" (West Side Story) and "It's a Grand Night for Singing" (State Fair) just as much as the next guy, but I dare say there are some songs from musicals in the past decade that would be really, really cool to sing (and might make inroads more effectively with the younger generation). 

I'm grateful for both Mack Wilberg and Ryan Murphy. They each bring their own style and testimony to the Tabernacle Choir experience. This week in particular though, it was nice to have Ryan take the reigns and to share in the experience he helped create for all of us. 

Until next time, God be with you.