Gary Shannon Music & Stuff

Barbershop vs Opera

2012-01-23T16:01:00.000-08:00

Letter in my inbox:

I'm having vocal difficulty while singing Barbershop Tenor or Lead. I sing flat sometimes, and it really bothers me just how fast that I can drop in pitch. I struggle with it constantly. It's one of the main things that we're working on in my vocal training. Also, my voice cracks a lot more than it use to. We're working on that too.

Should I go back to singing tenor? or Lead? or not at all? I'm told that I should not push at all in barbershop tenor. I'm not sure that style of singing is compatible with my classical training. I love classical singing, but I also love barbershop. My voice teachers think that my voice is better suited for classical. I want to make myself happy, but I love to make others happy as well.

Yours, T.

They are right: you do not push at all singing barbershop tenor... or any other part, either. It strains the muscles and sound, is not pleasant, and often under pitch. You hear singers doing that in both styles of music, and it's unpleasant in both.

Yes, I do sing both classical and barbershop, and do well at both. The "Do Not Strain" rule is true in both classical and barbershop. so is "Beauty At All Costs." You have to make them come true for yourself. No director or coach can MAKE you do it. They can remind you, yes, but you still, every note, have to do it yourself.

I see only a few reasons to choose one style over the other. One is what suits your personal voice best. Luciano Pavarotti is a fabulous opera tenor. That voice as barbershop tenor, or even lead would not be a good fit. There is also the matter of availability of opportunities and competition for performing spots in your area: If you have many opportunities to sing and perform in one role and few in another, that will be a factor on what to chose. Another reason is time. Every minute you are working on barbershop tenor, you are not learning classical or operatic literature and technique. You might only have the time to master one. Which do you chose? What fits best. If you have all the time you want, do both.

Yes, there are different techniques... you have to consciously shift back and forth - chest, head, heavy, light, full, falsetto - between styles and within styles. Do both? Sure. just realize it's two separate studies with much in common and some at odds. Keep them straight, you will do fine.

The last part - you need NOT make a permanent decision. Ever. Try both. Try one. Try neither. Change you mind. It's all good. What makes you happiest? What makes more of everyone else on the planet happiest? If you make a wrong choice, as long as you don't burn any bridges, all is well.

Yours, Gary Shannon
I teach online voice lessons! www.voice-mentor.com My passion: Your art.

NEW MUSIC TERMS, SILLY

2012-01-17T16:49:00.000-08:00

ALLREGRETTO: When you're 16 measures into the piece and realize you took too fast a tempo

ANGUS DEI: To play with a divinely beefy tone

A PATELLA: Accompanied by knee-slapping

APPOLOGGIATURA: A composition that you regret playing

APPROXIMATURA: A series of notes not intended by the composer, yet played with an "I meant to do that" attitude

APPROXIMENTO: A musical entrance that is somewhere in the vicinity of the correct pitch

DILL PICCOLINI: An exceedingly small wind instrument that plays only sour notes

FERMANTRA: A note held over and over and over and over and . . .

FIDDLER CRABS: Grumpy string players

FLUTE FLIES: Those tiny mosquitoes that bother musicians on outdoor gigs

FRUGALHORN: A sensible and inexpensive brass instrument

GAUL BLATTER: A French horn player

GREGORIAN CHAMP: The title bestowed upon the monk who can hold a note the longest

PLACEBO DOMINGO: A faux tenor

SPRITZICATO: An indication to string instruments to produce a bright and bubbly sound

TEMPO TANTRUM: What an elementary school orchestra is having when it's not following the conductor

You might get a groan out of this.

2011-12-20T15:33:00.000-08:00

Dear Gary,

You ought to get a groan out of this.

C, E-flat, and G go into a bar. The bartender says, "Sorry, but we don't serve minors." So E-flat leaves, and C and G have an open fifth between them. After a few drinks, the fifth is diminished, and G is out flat. F comes in and tries to augment the situation, but is not sharp enough. D comes in and heads for the bathroom, saying, "Excuse me; I'll just be a second." Then A comes in, but the bartender is not convinced that this relative of C is not a minor. Then the bartender notices B-flat hiding at the end of the bar and says, "Get out! You're the seventh minor I've found in this bar tonight." E-Flat comes back the next night in a three-piece suit with nicely shined shoes. The bartender says, "You're looking sharp tonight. Come on in, this could be a major development." Sure enough, E-flat soon takes off his suit and everything else, and is au natural. Eventually C sobers up and realizes in horror that he's under a rest. C is brought to trial, found guilty of contributing to the diminution of a minor, and is sentenced to 10 years of D.S. without Coda at an upscale correctional facility.

Dan

P.S. Have a great Christmas

Lesson One

2011-11-14T16:24:00.000-08:00

The first lesson I give my students, often even before I meet them, is this haiku:

~~~~~~ Sing and sing often! ~~~~~~
~~~~~~ It matters not WHAT you sing ~~~~~~
~~~~~~Only THAT you sing.~~~~~~

How much to sing?

Warmup every day. Five minutes is often enough.
Workout thrice weekly. Forty-five minutes is enough.
Vocal rehearsals, lessons, and concerts count as workouts.

Yours, Gary.

Vowels

2011-10-17T22:30:00.000-07:00

And the home of the brave...

aaaaaaaaaaandtheeeeeeeeeHOOOOOOOOOOOOMMMM
ooooooooftheeeeeeeeeBrAAAAAAAAAAAAAAAAAAVe

it's the vowels that get most of the singing.

You'd think five vowels.. A E I O U, and sometimes Y (and even W) ... would be enough, but they are not. Dictionaries have pronuncaition keys on most pages. They ALL have 12 or more distinct English vowel sounds. Wikipedia gives 30 different sounds in English:

ă pat, bad, cat, ran
ăr parry, carry
ā pate, bait, play, same
ä pa, father
är part, arm, bard, aria
âr pare, hair, pear, there, scary
ĕ pet, bed, bet, end
ĕr perry, merry
ē pete, ease, see
ĭ pit, sit, bit
i pee, midi, very, ready
ĭr pert, syrup, Sirius
ī pie, my, rise
îr peer, here, near, serious
ŏ pot, not
ō oat, go, hope, know
ōr port,hoarse, glory
ô paw, law, caught, saw
ôr horse, more, laureate
oi poi, boy, noise
o͝o, put, foot
o͝or, poor, tour,
o͞o, poo, lose, soon, through
ou pout, house, now
ŭ putt, run, enough, up
ûr purr, fur, bird
ə uh, about
ər per, enter

Critically, 30 vowels is too many. When I sing them out loud, long and slow, some of those those vowels sound the same to my West Coast USA ear: ä pa = ô paw, i pee = ē pete. (Say these out loud. Do you hear a difference? if yes, then it's two different vowels to your dialect of English. If not, it's all one.)

Further, some of those vowels are made by smooshing two other vowels, gliding one into the other (called diphthongs). oi poi = ō oat + ē ease. ou pout = ô paw + o͞o lose. Diphthongs are sung as one simple vowel (almost always the first one) followed briefly by another. Practice it by prolonging the first vowel, then second vowel is a quick glide away from the main vowel just before you make the next sound.

Then there is R which could get its own article... and will. Classical singers (and almost all other languages singers) treat R as a diphthong following the main vowel.

I go with a simpler list for practical purposes.
(this from http://en.wikipedia.org/wiki/English_phonology)

Lexical sets representing
General American full vowels
FLEECE GOOSE
KIT FOOT
FACE NURSE GOAT
DRESS STRUT THOUGHT
TRAP PALM

This list omits long i, while thought and palm are very similar in many english dialects.

Simple to think this way:
a e i o u, long and short, gets to ten (Face, fleece, Pie, goat, goose, palm, dress, kit, thought, foot) then add these three: Nurse, trap, strut

Since R in spoke English can change the vowel, so that's another 13 vowels you CAN learn, but they're rarely sung, even by American singers.

Exercises:

Do long tones on 13 different vowels.
Take any vocalize. Run in on 13 vowels.

Lots more on this subject later.

Affordable Voice Lessons

2011-06-08T14:29:00.000-07:00

Real simple:

For a live vocal teacher, I have really low rates, but even those can be too much for regular lessons for young singers and struggling artists.

This little offer is a good-looking prospect:

I have a few occasional students who pay them a one-time fee to buy and use this, then contact me for a short lesson when they get stuck and are not improving. I put them back on track with my online voice lesson (seven minutes is usually enough) and away they go.

Keep in touch.

Voice Lessons Online

2011-06-07T23:49:00.001-07:00

While most subjects must be taught face to face, music performance is successfully taught online. Is anyone else doing this? I tutor a score of folks each week this way now from my website, some of them local (even through Wyzant), but many more of them are from all over the world from places I could never physically visit.

Instead of connecting to a student in a physical space, we connect in a virtual space. My student and I are both at home on our own computers, with an audio headset, a common chat channel and sometimes a mini-camera active. We can tutor over Google-Talk, Second Life, There, MS Chat, or Yahoo Messenger, but my favorite music-teaching platform is Skype. Skype service is free for all, the sound and video stream is fantastic and I can inhibit new callers so the student and I are not distracted by incoming calls during our session.

I always spend the first few moments of the tutoring session making a good connection so we can hear and see each other clearly. If static, break-up or background noises interfere at all, we spend a few moments taking care of those, checking connections and setting levels. After that, the online tutoring session is very like a live face-to-face tutoring session.

There are some differences, of course. We can see and hear each other clearly, but I cannot point to a symbol on a physical paper page to direct attention to a detail. I cannot touch the student to correct a posture or hand position. However, I can instantly send a link to a website video, picture, or article that we can look at together and talk about right then. I can chat notes about an exercise while the student is singing or playing without distracting her and send it immediately on completing without distracting her from focusing on her performance technique. Using a recording program, I can make and upload short clips of our session so the student can review them after our session. In trade off, I think the online session offers the student more resources than the face-to-face.

I do not think this practice is widespread yet, but it’s effective and economical for teaching vocal and instrumental practice and technique.

Online Teacher Survey

2011-05-04T17:25:00.000-07:00

My answers from an online survey for music teachers at

http://www.44school.com

What instruments do you teach? what styles and levels?

1. Voice: beginner to advanced, pop, jazz, classical, theater
2. Piano/Keyboards: beginner to intermediate, classical, improvisation
3. Composition & Songwriting: beginner to advanced, pop, jazz, classical, theater

Which teaching methods/materials do you prefer to use?

Sheet music books in styles that the student enjoys.
Scales, arpeggios and improvisations in many keys.
Short lessons with concert date deadlines to encourage practice.

What would you do, ask, demonstrate, assign on a first lesson with a beginning student?

I'd keep the student singing and stretching skill at a good pace the entire 45 minutes (or 20 minutes for youth or short lessons).

"Hi! Let's get right to work. What would you like to achieve today?"

"Great.. Let's go for that. and I want us to ______ for you, too. Did you warm up today?" (do one for 7 minutes or more if not done)

"Let's have you sing a song, then."
(We choose an easy one in the style they like, they sing with me playing, or karaoke style)

"With that song, I heard this____, that____, and these ___ right. Those _____ and them ____ could be better. Sing again, and let's fix those."
"Here's an exercise to do to help that: _________."
"Do it again for me...and again... That is better.. and keep that as homework".

(as often as necessary:)
"Let's address another issue: try this ____________. and again, fixing ______"

(near lesson end:)
"Nearly done for today. I wanted you to this___ that___ and these ____ better, and you are! You'd wanted to ______. Is that better for you?"

"Your next lesson should be on [date]. Before that deadline, your homework is _______ with the result that you can _______. Sound good to you?"

"Great! Good job, gold-star work today! See you next time."

What makes you a good teacher?

Enthusiasm. Breadth. Patience. Trustworthiness.

How do we sell you to students that are interested in lessons? Career highlights, etc.

Gary coaches all levels. He's great with beginners, even teaching the very basics that get overlooked. He's on contract for some professional singers and the top choirs in Oregon. If anyone can, he can get you to do what you are hoping to do.

Any gigging, sessions, trips, or family issues, etc. that may interrupt your weekly teaching schedule?

I successfully teach voice online to students all over the world via www.voice-mentor.com. My current online private students cluster to Monday and Friday.

I have contracts with the Oregon Symphony Choir, the Barbershop Harmony Society and the Lutheran Church that consume many of my Monday, Wednesday and Thursday evenings, Sunday morning and scattered gig dates.

------------------------
There is more questions and answers, but those answers are in my website resume.

Yours, Gary

Singing in the Car

2011-05-04T13:57:00.000-07:00

Dear Gary,

I'm trying to do the "45 minutes 3 times a week thing" to improve my voice.
Any time I drive alone I sing along with my cd's and will certainly keep up that practice adding a practice or two at home. I don't have a piano so I was wondering are there any cd's available for practicing scales etc? If so where might I find one and is there any particular one you would recommend?

Holly

Hi Holly!

You ask great questions!

Singing in a car works to a point, but it's not my favorite. Personally, when I am concentrating on really singing, I am not a good driver. Since I'd rather keep myself and the other drivers safe, I don't usually count on or do car-singing as real singing except as a light warm-up.

There are thousands of CD's of scales and singing exercises out there, and I've not researched all of them. A singer's warm-up and training needs change almost week-to-week. The few times I've used an singing exercise CD, even a good one, I don't sing as well as I do when I'm singing at my own pace.

Listening and singing to song tracks recorded by good singers is a good tool, especially if the singer had mastered something you are trying to master, too. So, dig through your favorite CD's, put one in the player and sing along. It counts as a workout. Just... drive safely.

Yours, Gary

Posture for Singers

2011-04-11T16:34:00.000-07:00

This is a mirror post of

BHS
Directly involved Issue 4/11/2011
"Building Our instrument" article by
Steve Tramack - Chair, BHS Chorus Director Development Committee

--------------------------------

Here’s a quick checklist for building a better instrument, from the ground up.

Want to prove to your singers and yourself that a) alignment and tension release are important, and b) this is a skill set that everyone can improve in your chorus? Ask your section leaders, or your best chapter quartet, if they can assist with this demonstration at your next rehearsal. Let them know that you’d like to have them sing something for the chorus, and then would like to work with them to help improve their performance, but keep the specifics vague (as to not predispose them to the approach). With your chorus sitting on the risers or in chairs, have the quartet / section leaders come up front and sing a song of their choosing. Ask your chorus to keep that performance in mind as the baseline, and ask the quartet if you can assist them in building an even better instrument. Would they be interested in producing more sound, more consistently, with less effort?

Start at the feet. Ask the quartet to ensure their feet are shoulder-width apart (not the outside of the arms – the shoulders). Ask them to “find their skeleton” – that centered spot where their skeleton is supporting the majority of their weight. If they shift their weight forward and back, left and right, they’ll find a spot where they’re “centered”, with their skeletal structure supporting their weight more so than muscles. Have them sing 16 measures (intro, verse or first 2 A sections of the chorus of the song), and ask your chorus members to vote on whether there was any improvement by simply “finding their skeleton”. To vote, thumbs up = better, thumbs sideways = the same, and thumbs down = worse.

Pelvic girdle. Have them slightly tilt their hips / pelvic girdle forward, just so the knees unlock and the hip joint is now aligned, as you look at the singer from the side, with the middle of the foot. By playing with the degree of tilt, they’ll find that the air falls more easily and lower into the body when the pelvic girdle is properly aligned. Have them (and your singers) play with this – if they go too far, the air seems to get “stuck” high in the chest. If they don’t go far enough, the knees lock and the air also gets stuck. Have the quartet find the ideal tilt (where the air falls low into the body), and have them sing the same 16 bars. Have the chorus vote.

Lengthen and broaden the back. Next, how much length can the singers create between the hips and the base of the skull (the A/O joint)? The back should feel like it lengthens and broadens, but the arms and shoulders must release down and hang naturally. You’ll notice a higher rib cage naturally occurs as the back lengthens and broadens. Maintain the skeletal support – the shoulders should be aligned with the hips and the feet. Have them sing the 16 measures again, and ask the chorus to vote.

Back of the neck. Next, ask the quartet singers to lengthen the back of the neck, while finding that centered spot (not too far forward / back / left / right) for the head; feeling like it’s floating on the top of the spine. It should feel like the head could easily release directly up, were it not attached, and can move freely. The chin is going to be level with the floor, or maybe even 2 degrees below the horizon. Have them sing the 16 measures again, and ask the chorus to vote.

Release any undue tension. The Four Musketeers of Vocal Tension are the neck, shoulders, jaw and tongue. Any tension here will have a direct impact on vocal freedom. Have the singers release tension through moving each of those areas (various exercises are available in warm-up materials from the Society), and sing those same 16 measures again.

Deconstruct and reconstruct. You’ve now built a better, aligned, optimal instrument together with the quartet. As the quartet if they were aware of things that they changed as part of the process. As a final step, ask for them relax, and then, in one motion, rebuild that instrument. That’s what a singer should look like and, for them, feel like. Have them start the 16 measures again, in the “relaxed” position, and then, at the ninth measure, have them rebuild the instrument. You’ll be amazed at the difference!

Now that the chorus has heard and seen the different, go through the full process with the full chorus.

This is most effective if you, as a director, can model this optimal, aligned instrument, and find opportunities to reset this alignment at key points throughout your rehearsal and your music. You should practice this in front of a mirror, so that you can quickly build / demonstrate the aligned instrument quickly and consistently for your singers. The more habitual this becomes for your singers, the better the singing will be, with less effort…which will increase their level of enjoyment. A win-win!

Cathedral Classics

2011-03-08T11:32:00.000-08:00

Bogorodyiste Dyevo", number 6 from S. Rachmananov's "All-Night Vigil" as sung by Portland Symphonic Choir, March 6, 2011),

Power Quartetting

2011-01-28T09:29:00.000-08:00

This in my inbox:

Have you ever thought that it would be a lot of fun to learn and sing
such challenging songs as "South Rampart Street Parade" (Westminster),

"You Don't, You Won't" (Crossroads)



or even "Eine Kleine NOT Musik"(Gas House Gang)?


If this kind of challenge inspires you, you could be
the caliber of singer that would enjoy the Power Quartetting weekend.
Check it out at http://www.powerqt.com/portland/

 From: "Harry Buerer" hbuerer@spiritone.com hfbuerer
Date: Wed Jan 26, 2011 4:29 pm ((PST))

Portland Power Quartetting weekend June 3-4, 2011

2120 NE Tillamook St. Portland OR

Making tracks

2010-11-24T15:58:00.000-08:00

Gary,

I would very much like to make a demo CD within the next five weeks here in Portland. Is there any chance you would be willing to help me prepare for and record the CD? If so, roughly what would you charge, and if not, is there anyone you can recommend?
Yours, D.

D, What a fine idea for you. I'd be delighted to assist.

You will need the following jobs done to make a good demo:

Track recording job list

Phase one: preparation
~ producer (who hires and pays everyone - probably yourself.)
~ artist (again yourself .)
~ music director (with above, choose, find and pace the material)
~ back-up band and support musicians as needed.
~ recording venue contact (home? studio? remote?)

Phase two: Production
~ Recording venue scheduled
~ Recording engineer
~ Recording conductor
~ performers from above
~ Mix engineer

(from here down, things can be minimal with demo tracks)

Phase Three: post-production
~ Mastering engineer
~ package design artist
~ license & copyright agent

Phase Four: distribution
~ distribution manager, who oversees:
~ media construction
~ packaging construction
~ marketing and promo
~ sales and delivery
~ end accounting

Of the above jobs, which do you need me to help you with?

As you saw on my website, I generally charge $37 for 45 minutes of vocal coaching. I slide that down when more is purchased to as low as $97 for three hours. I generally charge the same for other work I do where I'm expert: vocals, keys, conducting, directing, coaching, producing.

I am not expert at distribution, nor recording or post engineer anymore. I taught sound engineering decades ago, and was expert at it then. Mike technique is the same, but media and post- tools are different. I have no recording venue I use a lot lately, but know of several locally, if you need one, as well as other musicians.

If you have material and a venue in mind, this project might take as little as three hours.

Estimated recording time formula:

For music appropriate to the skill set of the group at hand, plan on recording time of:

~unrehearsed amateur reading musicians: one hour per minute of track.
~concert ready amateur musicians: 15 mins per track plus 30 mins per session plus three minutes per minute of track
~ unrehearsed professional reading musicians: one hour contracts generally limit product to 15 minutes of finished track.

Yours, Gary,

(Mentor@voice-mentor.com) www.voice-mentor.com
Online voice lessons - music, speech, computer support.
My passion. Your art.

Absinthe Party

2010-09-18T14:39:00.000-07:00

Portland Symphonic Choir held a series of six dinner parties to raise funds for the upcoming season.

I assisted musically with the final event, hosted by Cindy Sheel, called "the Importance of Being Absinthe", featuring Edmund Stone acting as noted raconteur Oscar Wilde.

For your amusement here are pictures from guest Brenda Ray Scott’s phone. including myself and singer Nan Haemer. The food was wonderful, the drink interesting, the entertainment wonderful and the guests buoyant.

We will definitely do this again!

Applause

2010-08-29T23:20:00.000-07:00

O clap your hands, all ye people; sing unto God with the voice of triumph. (Psalm 47:1)

Despite this verse, applause is an oddity in churches. Many churches explicitly prohibit applause, since it is not a New Testament teaching, distracts from God-centered worship, and foments pride in worship leaders. Other churches encourage hand-clapping because it elevates the joy of worship, adheres to Psalms, and allows open congregational expression. There isn't an easy answer to this little issue, unless it's "follow the leader."

In secular entertainment, applause is a simple indicator of the opinion of the audience; the louder and longer the noise, the stronger the sign of approval. Some performers inspire applause simply entering a stage; others have paid folks to applaud long and loud, inflating their public persona. Sacred music, though, is not to entertain or sensationalize the congregation: singing is to be an act of worship that encourages worship in the congregation.

Choralnet.com, a choir resource group, did a survey about clapping showing that churches and denominations are divided and have become divided, by this issue. The ELCA.org article "Is applause appropriate in worship?" offers a fair answer:

"Liturgically, there are occasional moments when applause is an appropriate acclamation of the action just completed....

There are moments, particularly those filled with highly charged emotion, when spontaneous applause erupts from an assembly because there is just no other possible response....

After a particularly fine offering of music, worshipers may give thanks to God in silent prayer and personally thank the musician(s). Congregational leaders can plan congregational events that allow for such thanks to be given. "

Thus, at St. Timothy's Lutheran Church, we do applaud sometimes. If you are moved or asked to applaud, who would stop you? I'll confess to some pride that enjoys knowing that you were moved. Still, I give my thanks and appreciation to the individuals after worship. I thank God for musicians and the fellowship at St. Timothy's. When there is no applause after our musical offering, though, we musicians are content that we worshiped God, and that you did, too, in silence.

"But the LORD is in His holy temple: let all the earth keep silence before Him." (Habakkuk 2:20)

All the best to you.
Gary Shannon

Timberliner Outfits

2010-06-22T14:51:00.000-07:00

The Rose City Timberliners are looking at adding another outfit to their performing costumes.

Currently, the chorus wears a white long sleeve cotton shirt, khaki slacks and black belt and shoes from Company Casuals catalog for 28$. The logo (not shown here) is red with green lettering. This same shirt is available in short sleeve and many other colors.

While the group is easy-going, they want to look uniform and put-together as performers. Unavoidably though, such groups look like a bowling team or a restaurant staff.

For summer, though, the idea is another more comfortable shirt, short sleeves, square cut bottom wearable outside the pants. Each singer wearing a "Hawaiian" style shirt of any print they chose was discussed, but not generally liked. Casuals sells "camp shirts" in white and celery and other colors. Our logo is already on file with them, so there is no new set-up fee for embroidering this onto the shirts.

One suggested we try a "deep rose" color shirt. Color is not available in camp style at Casuals, but another supplier offers it for a new logo fee. Casuals does offer the deep red in a knit sport shirt that might fit the bill for $18.00. This style also has white, ivory and celery and other colors.

The membership will look at these options and decide what, if any, to add to the uniform requirements.

2010-06-12T14:09:00.001-07:00

This from Stephen Zopfi, Conductor and Director of Portland Symphonic Choir, September 23, 2009, while preparing to sing Brahm's "Ein Deutches Requiem"

Let us take as a given that pronunciation for singing is different than pronunciation for speech. (Hence, specialized diction classes for singing)

Let us also take as given that what works for solo singing doesn't always work for choral situations (Hence, we adjust choral pronunciation to find what works for a particular choir in a particular musical situation)

Add to that pronunciation can be modified depending on where a particular note sits in the voice, what sequence of vowels and consonants come before and after, where it occurs in the musical line, and even what musical effect is needed.

Then mix in the fact that no two native speakers of most languages agree on the pronunciation of anything.

Then stir.

Well, you can see that it is a difficult situation. IPA symbols can be tremendously helpful but even with IPA, there is a limit to what they can offer. Like musical notation, IPA can point you in the right direction but no notational system can ever capture the nuance and endless gradations of speech.

Therefore, we do the best we can. We establish a standard and train the best we can. We do our best to listen and to adjust. We practice. For those of you who have had singers diction, have sung the work many times before, or who are native speakers - hang in there. We have a new choir with new adjustments, new standards, new interpretation, new things to listen for, to discover.

In choral singing, performing "as one" is more important than performing "right". Ideally, we can achieve both, but art is in the details.

About Choral Masterworks

2010-06-12T13:30:00.000-07:00

This from Stephen Zopfi, Conductor and Director of Portland Symphonic Choir, September 23, 2009, while preparing to sing Brahm's "Ein Deutches Requiem"

Dear Folks,

There is something different about singing a choral masterwork than singing any other repertoire. They feed us on spiritually while reminding us what it is to be human. They are a three course meal of vegetables, protein, carbohydrates, dairy, and so on rather than the fast food of much of what passes for choral music. They are tremendously challenging vocally, musically, physically, emotionally, artistically, and intellectually. It is tremendously satisfying and nourishing on a very human level to sing a masterwork. Not to say I don't like my carbohydrates. I am a fool for chocolate covered mini-donuts and certain arrangements of popular songs. However, it is the Masterworks that feed and sustain us on a very deep level.

Another characteristic of Masterworks is that they have depth. The more you look at one, the more you discover. Was Brahms writing unrequited love music for Clara Schumann, or was it spiritual solace for her on the death of her husband, Robert? I have changed my mind repeatedly about markings. Lately, I have been thinking that the end of the 2nd mvt. has an obvious dramatic spot at m. 336 that benefits greatly from a rallentando. But an immediate return to tempo at m. 333 seems a bit mechanical. All of these ideas can be debated endlessly but that is what makes this masterworks so fascinating:

They have something more to reveal to us each time we perform them.

That might even be the test of masterworks in any genre... they have more to reveal.

Masterpiece (or chef d'œuvre): a creation that has been given much critical praise, especially one that is considered the greatest work of a person's career; a work of outstanding creativity, skill and workmanship.

St. Timothy's New Piano

2010-02-08T14:10:00.000-08:00

the Music minstry at
St. Timothy's Lutheran Church
14500 SW Powell Blvd,
Portland OR 97230

Using funds raised from the Ruth Beck Memorial Fund (major contributors to be listed)
purchased

a beautiful Samick Piano 5' 7" Traditional style high-polish walnut with mahogany and mother-of-pearl inlays.

from Ogden Music
4035 Southeast 82nd Avenue
Portland, OR 97266-2913
(503) 777-2666

by Alice... who sold us a lot of other stuff, too.

in '92 Mr. Orland Odgen bought the baby grand from Samick's display at the N.A.M.M. show in Anaheim, California to display at his Portland store and his personal use. He never sold it... wanting it to go to a special customer that would care for it. On his death in May 2002, his widow discounted the price heavily as the store is slated to close. Originally purchased for seventeen thousand, St. Timothy Lutheran acquired it for a little over seven thousand dollars. The Oregonian Newspaper wrote about Mr. Ogden in March 1992.

More:

The attached manufacturers card reads "Samick Musical Instruments Co Ltd.
316, Hyosong-dong, Pug-go Inchon, Korea
Tel (02) 742-+3330 /4, (032) 526-3321 /40
(SN# IKCGO522, Model SG172D, Color AWMHP) and factory inspection notes.

Similar to this model...Specifications: 683 lbs. 41" Tall, 58 1/4" Wide.
Soundboard Area: 1882 sq. in. #1 Bass string:
51 1/2"

Posted online by
Samick Music Corporation, 575 Airport Road, Gallatin, TN 37066, (800) 592-9393)
M-F 8-5 pm)
info@smcmusic.com or (recommended) email jjones@smcmusic.com with SN and info.

Advice from Alice:

Always use the piano cover, Alice recommends. She is preparing a much nicer cover than the green cloth one for us to use.

To polish and clean, use a soft cloth, like a classic car cleaning cloths. Don't use a normal cloth or wood cleaner. Once a month use a cleaner called _______

If varnish is scratched, hire professional _______ to repair it for you.

The Oregon Song

2010-01-16T15:48:00.000-08:00

The Portland Oregon Barbershop Chorus,
"The Timberliners" sings this little ditty often.
We think these words were penned around 1987 by past Timberliners director Mr. Michael Brown.

We're sure you know the tune and lyrics to "O Tannenbaum", but we bet you haven't heard this version.

THE OREGON SONG

Our trees are tall, our scenery's great,
our mountains are exquisite,
But when you come to see our state,
be sure it's just to visit.
Our men all look like lumberjacks.
Our women wear designer slacks.
There isn't any sales tax (yet)
in Oregon, my Oregon.

We've beavers, ducks and fishies here.
We've flora and we've fauna.
We had Baghwans and Rajneeshees here,
and medical marijuana.
When Mount Saint Helen's blows her crust,
we're covered in volcano dust.
We never tan, we only rust
in Oregon, my Oregon.

We save the whales, we fight the nuke,
but buddy, let me warn ya,
If you're some kind of weirdo kook,
go back to California.
From Portland to the Siskiyous,
we ride our bikes and row canoes.
We always wear our Nike shoes
in Oregon, My Oregon.

Harry Warren

2009-09-07T09:46:00.000-07:00

The world's first gold record...

The most hits on Your Hit Parade ever...

Over 500 published songs, and his hits are household songs, even 60 years later.

1949 Director of ASCAP...

11 Academy award nominations and three awards for Movie's Best Song.....

And have you heard of Harry Warren?

Success, even in performing arts, is not equal to fame.

Is he a master composer? Yes, without doubt. Is that recognized? No.

Ben Brantley of "The New York Times" reviewed the 2001 revival:

"What better show to install in that theater than -- of course -- a newly opulent ''42nd Street,'' with its finger-snapping anthems to Broadway and Times Square?

Those anthems, by the immortal team of Harry Warren and Al Dubin, remain among the most infectious songs ever written about Manhattan, as energetic, tough-hearted and self-romanticizing as the island itself. No sooner does the orchestra at the Ford Center strike up the overture (beginning with ''We're in the Money'') than you feel yourself grinning."

in 2009, American Songwriter Magazine editor Paul Zollo writes:

"the advent of rock and roll changed the game... He moved away from the short form of songs to write a masterwork - a Latin Mass - completed in 1962. Sadly, there was little interest in it, and it went unheard for a decade until Loyola Marymouth University staged a performance of it. To this day, though, it has never been recorded."

Somebody ought to remedy that.

Harmonic Vocabulary

2009-08-27T15:57:00.000-07:00

Dear Hal,

You raised a fabulous question I've been chewing on: "dumbing down arrangements", especially on "Almost". Since I write in a lot of styles, it's a conscious choice for me, and I'll explain why:

it's a matter of using a vocabulary your audience understands.

If the audience was just you and me, for example, we could sing 12-tone rows and poly-chordal arrangements, and groove on those. I've written some of those. Contemporary acapella lovers can go pretty far afield with nameless chords, poly-rhythms and hair-pin changes of style - if that's your audience, you write for them. I suppose the far extreme might be cartoon character Hank (King of the) Hill saying "I like both kinds of music, country AND western." - for Hank's ilk, you don't even sing a 6th chord because they'd hear those chords as "errors"

Kinda like singing in Latin or French - right for the right crowd & wrong for the wrong crowd - depends on how well your audience knows the vocabulary by the time you are done.

Now consider what little we know of the judges of the Forest Grove Barbershop Ballad competition and the opinions of the coach we had who has judged that event. Recall in "Nose to Nose" that his ear objected to the no-fifth chord at the end and wanted a full chord. In "Wink", one sixteenth note of an open fifth chord ("old jalopy") needed a third to be fixed, and we did it and will do it. But this gives us a strong clues on what vocabulary his barbershop audience will understand - and it doesn't include 2 note chords. By extrapolation, most of the audiences we will have will understand BBS style, since our agent Tom's contacts are in that world.

"Almost" uses vocabulary the barbershop crowd will ALMOST but not quite understand: open fifth beginning, (to that ear, making our first sound to sound "wrong") major 7 9 6 chords in tag ("al-most like"), and the swipe ending the intro.

Generally, the mutually exclusive alternatives are:

present and teach a new language entertainingly.
let the audience dislike what you are doing.
cater to the audience's familiarities

For this barbershop competition, the choices are

re-arrange the tune to the style (I don't like the idea - the arrangement we have has it's own quirky charm, and I personally LIKE those quirks, so we use it in less judgmental moments in performance)
accept the distrust the audience will give us by doing it the way we like, but hopefully redeeming ourselves by educating those ears to a new vocabulary (Don't like this risky plan, either) or
choose a different tune for that audience.

Simplest and most respectful answer: choose a different tune.

Yours, Gary

2009-08-06T12:47:00.000-07:00

Rose City Timberliners

present our annual

Ice Cream Social

Saturday August 15--Noon to 2 p.m.

Peninsula Park Rose Garden

North Ainsworth & North Kerby Avenue,

Portland, Oregon

Join us for singing, ice cream sundaes, and fun!

Free!

My Resume

2009-06-06T14:55:00.000-07:00

Somebody asked me to post it, so here it is:

PERFORMANCE RESUME
(Director credits in bold)

Choir Master, Organist, Pianist: St. Timothy’s Lutheran Church 2007- present

Youth Sunday Music Director: All Saints Episcopal Church 2005-2007

Music Director, Soloist, Pianist: Unity Church of Portland 2005-2007

Riff, “West Side Story” in concert: Central Oregon Music Festival 2000

Musical Director, Pianist: “Gershwin Revue” Jasmine Tree Productions 2000

Cantor, Chorus Section Leader: All Saints Episcopal, Portland OR 1999 – 2005

Music Director, Chorister: Portland Chorus, SPEBSQSA 1998 – present

Soloist, Tenor Section Leader: Portland Symphonic Choir 1997 – present

Soloist, Chorister: Choral Cross Ties 1995 – 2002

Tolloler, “Iolanthe”: Jasmine Tree Productions 1995

Guest Director, Soloist, Chorister: Oregon Repertory Singers 1993–1996

Chorister, “Hello Dolly”: The Musical Company, Portland 1991

Interview Host, 13 episodes: Citizens Commission Human Rights, OR 1989

Musical Director, Singer: Dickens Carolers, Portland OR 1985 – 1995

Pierrot, “Pierrot & Pirouette”: Portland Arts Council 1983

Paul, “Silent Night, Lonely Night”: Group At Hand, Santa Cruz CA 1982

Buffalo Bill, “The Wild West Show”: American Touring Company 1979

Amiens, Music Director “As You Like It”: San Jose State University 1979

Music Director, Composer "Madwoman of Challiot": San Jose University 1979

Gherardo, “Gianni Schicchi”: San Jose State University 1978

Dancer, “Dance in America”: San Jose State University 1977

Chorister, “Carmen”: San Jose State University 1977

Archy, Musci Director, “Archy & Mehitabel”: San Jose State University 1977

Chorister, Chamber Choir: San Jose State University 1977 – 1979

Judas, Music Director “Jesus Christ, Superstar”: Group At Hand, Santa Cruz CA 1976

Scapino, Music Director, “Compagnie Santi Ostinati”: Group At Hand, Santa Cruz CA 1976

Jeffrey, Music Director, “Godspell”: Group At Hand, Santa Cruz CA 1975

Chorister: California Honors Choir 1975

Narrator, “Antigone”: Group At Hand, Santa Cruz CA 1974

Barnaby, “Sing Out Sweet Land”: Group At Hand, Santa Cruz CA 1974

Chorister, “Cosi Fan Tutti”: U.C. Santa Cruz 1974

George, “Of Mice and Men”: Santa Cruz High School 1975

Butler, “The Man Who Came To Dinner”: Santa Cruz High School 1973

Chorister, “Wizard of Oz”: Big Sur Community Theatre 1971

Little Boy, “Curious Savage”: Lompoc Community Theatre 1962

HONORS

1976 “Best Male Lead in A Musical,” California Association of Community Theatres
1974 & 1975 “Honorable Mentions for Male Lead,” CACT
1979 “Bachelor of Music with Great Distinction”, San Jose State University
1977 “Associate of Theatre Arts with Highest Honors,” Cabrillo College, California

SKILLS

Music: direction, composition, arranging; organ, piano, vocals, vocal coach; sound design & engineering; dance, choreography; Medical: physical therapy; bookkeeping, accounting, terminology management; Computers: repair, maintenance, many website, office & networking applications.

Gary Shannon

Lyric Tenor /Counter Tenor

5’10”, 185 lbs.

Coloration: Fair

Hair: Brown but disappearing

All You Need is Love

2009-05-27T13:52:00.000-07:00

The Harmonics are rehearsing an acapella arrangement I made of "All You Need is Love".

Here are videos of the original:

The sound is better here, but the video is unrelated:

My goal is acapella arranging is usually to import the original version that everybody knows into the vocal idiom. I remove or subtly alter what I can't make work for voices, and add touches that can work.

As for the arrangement, the increasingly exuberant back beat that drives the original is missing from my arrangement. I'll figure it out soon :)

Love, Gary

2009-05-05T10:27:00.000-07:00

"All-Night Vigil"
Sergei Rachmaninov
Steven Zopfi conducts the Portland Symphonic Choir in three in High Church Slavonic by performances.

These will be my fourth performance of this towering masterpiece. It demands huge resources , huge control and huge commitment. The group has all of them. They got those qualities thru competent leadership and lofty goals.

The sum is greater than the whole of the parts. Untrue in physics. True in Art. Discuss.

Saturday, May 16 at 7:30 pm & Sunday, May 17 - 2:30 pm

St. Mary's Cathedral, NW 18th and Davi, Portland Oregon. Order tickets on-line

Sunday, May 31 at 4 pm.
St. Mary's Parish Church, 575 E. College St. Mt. Angel, Oregon -Tickets at the door only

Nadja Salerno-Sonnenberg & the Assad Brothers

2009-04-29T15:46:00.000-07:00

In concert last night, what we saw is three very different ways of addressing the music and the instrument.

Nadja is an aggressive violinist, attacking each phrase from her entire body. She leans forward into every note, her tip toes firm on the floor, heels bouncing to the beat, as though she is ready to leap from the chair at any moment. She alone spoke for the trio, illuminating bits of the creative process with stories on how this piece came to being or that arrangment was created. Her speaking voice is rich, but a strong NewYork accent pops out, especially when acerbic, as when starting the second half while stragglers are still rushing to their seats, "like roaches caught in the light", she says. Her playing is, of course, passionate and volatile.

Odair Assad, the younger brother, dances with his guitar. Swaying gently to the music, or punctuating tight rhythms with his shoulders and posture, he sits with both feet flat on the floor, his right thigh and left hand alone supporting the guitar and neck, unlike most other guitarists, including his brother. He, like Nadia, is ready to leave his chair, (indeed, he was standing before the last notes of their Copland "Rodéo" encore ended) not to insist on his music, but to dance with his instrument. His playing is elegant and charming.

Sérgio, though, holds his guitar very close to his body, his left foot on a small riser, supporting the guitar with both thighs and left hand close to his chest, his face hovering just over the shoulder of the instrument, if not acutally resting on it. He moves little, only head and hand. At first, this seems like a lover's embrace, but as the evening continues, you see that the guitar not another being or an extension of himself, but it is his very self that he strums for music. He is touching his own centered soul and music comes out. His playing rich and sonorous.

Singers and actors master all three styles and more to perform effectively. Rare are classical instrumentalists who are so physically engaging, even sitting still. Their motions were genuine and expressive, although no two of the players moved the same. No recording, even one of a concert, fully shows this. For seeing this yourself, go to concerts. For hearing it, there is an Instant Encore offering of this concert, but it is not the three players or even the instruments we heard. For that, there are recordings.

Job Hunting

2009-04-01T22:02:00.000-07:00

To: New Jobhunter
From: Your Mentor

Congratulations on you new position!
Job hunter is an age-old position with many rewards and challenges.
Here is an outline of your dutes:

1. Set your own work hours and keep them.
~~~a. No one is going to supervise you or call you when you miss work
~~~ b. You will have to get yourself ready to job hunt each day
~~~c. You may change your hours as necessary.
~~~d. If you are already working some, keep doing it and also your jobhunter hours.
~~~ e. File unemployment if you might be eligible. Follow their rules, please.

2. Make your own work area.
~~~ a. Don’t spend a lot of time on this, but cover the basics:
~~~ b. Phone, phone book, note pad, computer, lighting.

3. Narrow your search:
~~~ a. What location will you work in?
~~~ b. What types of jobs would you do?
~~~~~~ i. Jobs you’ve held before
~~~~~~ ii. Continue a career you’ve started
~~~~~~ iii. Begin a new career. Idea sources:
~~~~~~~~~ A. Your hobbies, passions and loves
~~~~~~~~~ B. Browse the Phone Book and Newpaper randomly

4. Contact every one who might have a job for you:
~~~ a. By local phone call to potential employers in your area and interests:
~~~~~~ i. Dial and talk to whoever answers:
~~~~~~ ii. Introduce yourself and let then know you are looking for work as a (fill in the blank)
~~~~~~ iii. Ask if they might have an opening for someone like you.
~~~~~~~~~ A. If yes, find out what they want and produce it.
~~~~~~~~~ B. If not, ask if there anyone who might need someone like you.
~~~ b. By personal contact:
~~~~~~ i. Let all your friends, relatives and people you work with know you are looking.
~~~~~~ ii. Talk to everyone: the stranger in line at the store may need you.
iii. Visit http://www.angelfire.com/nj/counseling/50cents.html for more ideas.
~~~ c. By any other means you have:
~~~~~~ i. Online applications (do them fully the first time)
~~~~~~ ii. Cold mailed resume
~~~~~~ iii. Newspaper want ads
~~~~~~ iv. Phone book Yellow page listings

5. When you learn of a lead, follow up fully and professionally with whatever they ask.
~~~ a. Resume: one page, please, absolutely truthful.
~~~b. Cover letter: do your homework and make it about THEIR business
~~~ c. Interview: Dress as though you already have that job. Get enough rest.
~~~d. Follow up each of the above: it impresses and can lead to more leads.

6. Accept the right offer.
~~~ a. You don’t need to accept your first offer unless you are desperate.
~~~b. The beginning is the time to negotiate.
~~~ c. Commit only to what you really can do.
~~~d. Leave your options open if a better offer arrives.

Renato Fabbro Update

2009-03-04T07:28:00.000-08:00

Hi Gary,

I just came across the nice advertisement you gave me on your blogspot page. Thank you!! I can actually give you an updated version of my bio, which I've attached to this e-mail. Your page looks great. Thanks again for the mention.

See you soon,
Ron Fabbro

Ron Fabbro received both Bachelor of Music and Master of Music degrees in piano performance from the University of Colorado at Boulder, where he studied with Larry Graham and Angela Cheng. As a fellowship student at Rice University, he received a Doctor of Musical Arts degree under the tutelage of John Perry. Dr. Fabbro has performed at the Aspen Music Festival, Sarasota Music Festival, Boulder Bach Festival, Cascade Music Festival, Colorado Mozart Festival, and the Idyllwild Arts Academy in Idyllwild, California. He has coached with Robert Levin, James Buswell, Christopher Elton, James Dunham, Ralph Votapek, and has performed in concert with internationally renowned violinist Frank Huang. Frequently in demand as an adjudicator and master class clinician, he has judged competitions nationally and was most recently invited to give master classes at Marylhurst University and for the Oregon Music Teachers Association. National competition prizes include top honors at the Fort Collins Symphony National Young Artist Competition, Young Pianists Competition, MTNA Wurlitzer Collegiate Artist Competition, and the Lee Piano Competition. Concerto performances include those with the Denver Philharmonic Orchestra, Fort Collins Symphony, Grand Junction Symphony, Colorado University Orchestra, and the Grand Junction Youth Symphony. Dr. Fabbro has taught on the faculties of Lee College, the University of Texas at San Antonio Summer Music Institute, and currently teaches at the University of Portland.

Still impressive, Ron. Send me a new picture when you have one.

2009-03-03T09:22:00.000-08:00

It's a gruesome story: arts groups closing all over now. I've lost one already (online singing lessons group I work for closed their doors 6 months ago. I went solo on it.) and almost lost another one that I'll share about.

Last year, Portland Symphonic Choir got to the run up for the last concert of the season. We had taken losses on every event that year, including a "fund-raising" concert we had hired a huge name in classical music to front for us. Six weeks before the end of the season, we learned that we (120 singers plus 12 board members and staff) had to raise $100,000 inside of six weeks to break even.

Well, long story short, we did it. We did the usual ask the group for pledges, but it wasn't just pledges from us. We aided singers in creating solo recitals (I was on the production team) for family and friends, donation to the PSC. We made challenge grants for each other. We made impromptu auctions every rehearsal. I sold a dinner for eight with a soiree and delivered it on Valentines week this year. In short, we made a miracle. A blessed miracle.

This year, we cut our budget by 100,000. One planned concert bit the dust. I music managed a soiree event for 60 people on Halloween week - and helped raise $10,000. We're coming up on the "fundraiser" again - this time the Mozart Requiem and two other short Mozart choral/orchestral works - and we are ahead of target on ticket sales. If you are in Portland, Friday March 13, you will hear a superb and impassioned performance. Is it worth the work? YES!

The first lesson I give my students, often even before I meet them is this:

~~~ Sing! ~~~~

~~~~~~ Sing Often! ~~~~~

~~~~~ It doesn't matter WHAT you sing ~~~~~

~~~~~~It matters THAT you sing.~~~~~

(Oh, that's for you. And all you other non-singing singing Pezheads, too.)

Survival is possible for non-profit arts, but Lord, it's hard work and it takes luck and expertise, both. There is nothing I'd rather be doing.

Immortal Invisible Parody

2009-01-22T13:06:00.000-08:00

(To Hymn Tune: Immortal, Invisible...)

Immoral, impossible, God only knows
How tenors and basses, sopranos, altos
At service on Sunday are rarely the same
As those who on Thursday to choir practice came.

Unready, unable to sight-read the notes,
Not counting, not blending, they tighten their throats.
A descant so piercing is soaring above
A melody only a mother could love.

They have a director, but one wonders why
No one in the choir deigns to turn him an eye.
It's clear by his flailing, he wants them to look
But each singer slouches with nose in the book.

Despite the offenses, the music rings out.
The folks in the pews are enraptured, no doubt.
Their faces are blissful, their thoughts appear deep.
But it is no wonder, for they are asleep.

(Ah, the joys of random e-mail contacts)

Yours, Gary Shannon

I teach online voice lessons!
www.voice-mentor.com.
My passion: Your art.

( 8-{D} Balding, bespectacled, mustachioed, happy, bearded guy, usually open mouthed.

Singing Low Notes

2009-01-09T13:50:00.000-08:00

Today's question:

Dear Voice-Mentor,
I'm having trouble making my low notes more powerful and "open". Do u have any pointers?
x00x

Dear xoox,

This I can answer! If your air is flowing gently and throat is relaxed, this exercise will extend the vocal range:

~ First, find SOME notes that sound exactly like you want, in your case, powerful and open.
~ Next, sing those notes, really getting the feel of them, until they sound just right to you.
~ Then, and only then, you start to slide that sound down

Adding notes to your range IS muscle training: you get gains by exercising those muscles, not thinking about it. It takes some time to build muscle and flexibility.

~ Take a breath, sing your good note, and slide it a little lower in pitch..
~ KEEP THE SOUND GOOD - don't go so low that the sound and feeling worsen.
~ If the good sound worsens, back up and sing a higher note that you can do well.
~ Be careful on going down. Do it SLOWLY. KEEP THE SOUND GOOD.

If your good sound does not go as low as you want it to go, have patience, it will come with time.
If your sound suddenly goes weak or choked, you've gone too low for now.

~ SING THE LOWEST PITCH YOU CAN WITH GOOD SOUND.

This stresses and trains the the muscles some, but it keeps your technique good. Five to ten minutes on this exercise at a time is plenty. When you get tired doing this, when even your good notes start to soudn worse, take a break, do something else.

~ After a while of singing your lowest good note, and slide it down a little and back up.
~ Very soon, the next lower note starts to sound good, too.
~ Congratulations, you are closer to your goal ~ that new note is your new "lowest note"!

Depending on how far along you are, this whole drill may take only seconds or it might be weeks before your next note appears. If you can't take the good sound lower, then don't. Go back and stick to the higher pitch for now.

~ Practice that new low note a lot.
~ Try sliding into and out of the next lower note from time to time.
~ When the next lower note comes in beautifully, now sing that.
~ Keep adding notes this way until you have all the notes you need.

It's easy to try to go too far too fast, but then you get nowhere. The real, real secret is to make the good sound color you want, THEN stretch farther, but not too far or too fast.

I'm glad you asked that question. I've been meaning to post the answer on this blog. Now, here it is!

Yours, Gary
www.voice-mentor.com

The Harmonics Demo script

2009-01-06T12:46:00.000-08:00

the Harmonics Demo Tape Script, Draft One:

Purpose: show fantastic vocalizing, song selection and presence in a short clip -

Capture interest and direct potential buyers to next contact

Caveat: We're limited to snippets of tunes unless we pay mechanical repro rights.

Request: comments, please. Recording is slated Jan 11

------BEGIN Script-------

Voice Over - (slate or movie bass sound)

"The Harmonics. dot com. demo track. Take One"

Group - (Get Ready, bridge)

"Whoa, I'm bringing you a love that's true. Get ready, Get ready.
I'm gonna try to make you love me too. get ready, get ready

Get ready 'cause here I come." ---

Get ready 'cause here I come!"

VO "

"The Harmonics. Dot com. Vocal Acapella. 2009. Not 1909

Group - (Romance[If I can get it], verse 4)

"Romance, I know it sounds old-fashioned, But the fashion is a passion with me
By chance of falling in love, I love the feeling passionately...
I'll take romance if I can get it, give me just one night, you won't regret it.."

"The Harmonics. Dot com. Corporate friendly. Family friendly. just. friendly.

Group (Kiss the Girl, verse 5)

"Sing wit' me now... Sha-la-la-la-la-la Don’t be scared
You got the mood prepared, Go on and kiss the girl
Sha-la-la-la-la-la Don’t stop now
Don’t try to hide it how, You wanna kiss the girl,

go now kiss the girl ..."

"The Harmonics. Dot Com. Four voices. Maybe microphones. Fits anywhere.

Group. (A Wink and A Smile, bridge 2)

"and now, Now my heart is music, such a simple song
sing it again, the notes never end. This is where I belong, belong
Just the sound of your voice the light in your eyes,

we're so far away from yesterday...

"from Portland Oregon. Hal, T.J. Gary and Tom. For rent.

Group (And So It Goes, verse 3)

"so I would share this room with you, that's if the choice were mine to make,

but you can make decisions, too, and you can have this heart to break"

"the Harmonics."

Group (Get Ready, tag)

"You know I never met a girl that makes me feel the way that you do.

Whoa, you're all right"

(long pause) dot com.

----End script-----

Yours, Gary Shannon
I teach online voice lessons! www.voice-mentor.com My passion: Your art.
4022 SE 100th Ave. Portland OR 97266 503-761-1837
( 8-{D} Balding, bespectacled, mustachioed, happy, bearded guy, usually open mouthed.

Announcing "the Harmonics"

2008-11-23T16:34:00.000-08:00

My men's acapella quartet chose a name, after rejecting scores of good and bad suggestions. When we first sang for our families, we found it: not over-used, easily understood and even the web address is available:"

"The Harmonics"

It is a great name for a group of artists, even according to dictionaries:

harmonics:
~~Agreeable relationship between the parts of design or composition giving unity of effect or an aesthetically pleasing integrated whole;
~~The science, theory or study of the physical properties and characteristics of musical sound.
~~ musical tones (or waves) whose frequencies are integral multiples of the frequency of a fundamental tone (or wave).
~~ A tone produced on a stringed instrument by lightly touching an open or stopped vibrating string at a given fraction of its length so that both segments vibrate. Also called overtone, partial, partial tone.
~~ Of or relating to Harmony:
Pleasing to the ear, a state of peaceful agreement and cooperation, a pleasant combination of two or more notes sounded at the same time, the way parts combine well together or into a whole.

[from Latin harmonicus, from Greek harmonikos, harmoni, "harmony; articulation, agreement", from harmos, "joint", from Indo-European Root *ar- "To fit together." Whence Latin ars, "art, skill, craft": ART, ARTIST]

We've got a few sample tracks up on the site, too. "The Harmonics.com"

Hallelujah

2008-10-28T12:04:00.001-07:00

"Hallelujah" by Leonard Cohen is one of those tunes you make your own by adding, changing or deleting lyrics. Compare
Leonard Cohen, (author in a German TV performance)

Damien Rice (Rock and Roll Hall of Fame Performance)

Rufus Wainwright (from the movie "Shrek" in concert)

After the first two verses, each varies what comes next.

1 for Leo, Damien & Rufus
Now I've heard there was a secret chord
that David played, and it pleased the Lord,
But you don't really care for music, do ya?
It goes like this: the fourth, the fifth,
The minor fall, the major lift
The baffled king composing Hallelujah,
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

2 for Leo, Damien & Rufus
Your faith was strong but you needed proof.
You saw her bathing on the roof
Her beauty and the moon light overthrew ya
She tied you to a kitchen chair
She broke your throne and she cut your hair
And from your lips she drew the Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

3. Rufus
Maybe I've been here before
I know know this room, I've walked this floor
I used to live alone before I knew ya.
I've seen your flag on the marble arch
Love is not a victory march
It's a cold and it's a broken Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

3: Damien 4. Rufus
There was time that you let me know
What's really going on below
But now you never show that to me, do ya?
Remember when I moved in you
The holy dark was moving too
And every breath we drew was Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

4. Damien 5. Rufus
Maybe there's a god above
But all I've ever learned form love
Is how to shoot at someone who outdrew ya
Well it's not a cry that you wear at night
And it's not somebody who's seen the light
It's a cold and it's a broken Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

3. Leo:
You say I took the name in vain,
I don't even know the name,
But if I did, well really, what's it to ya?
There's a blaze a light in every word,
It doesn't matter which you heard,
The holy or the broken Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

4. Leo
I did my best. It wasn't much.
I couldn't feel so I tried to touch
I've told the truth and I didn't come to fool ya
And even though it all went wrong
I'll stand before the lord of song
With nothing on my tongue but Hallelujah.
Hallelujah, Hallelujah, Hallelujah, Hallelujah.

Hallelujah, Hallelujah, Hallelujah, Hallelujah.

(even the closing tag changes)
Damien
Hallelu-----------jah. Hallelujah.

But the chords and the melody, they stay very close to:
C Am C Am
F G C G
C F G (tonic chord, the fourth, the fifth)
Am F (the minor vi, relative major IV) ~fantastic lyric writing~
G E Am -
F Am F C G C

2008-10-06T11:45:00.000-07:00

Your results:
You are Superman

Superman		85%
Spider-Man		65%
The Flash		65%
Robin		60%
Iron Man		60%
Green Lantern		55%
Supergirl		50%
Wonder Woman		45%
Batman		25%
Hulk		25%
Catwoman		15%

You are mild-mannered, good,
strong and you love to help others.

Click here to take the "Which Superhero are you?" quiz...

Sing-ism

2008-08-05T07:49:00.000-07:00

Wyzant.com has me connecting to new students and teaching locally. If you go thru their service for lessons, you will pay more and I will get paid less, but you will get the security of an established third-party site that takes credit cards.

Here is a a sample initial contact.

------------------ Job Posting ----------------------

Hi there, I've been wanting to take voice lessons for quite sometime now and never really followed through with it. I have been playing the guitar for many years casually... but now its come to the point where i wanna play and sing and create music and eventually do the solo act doing a talent type of thing like downtown or for friends.. I have the guitar-ism down if you will... now i just need that sing-ism. what kind of information can you give me as far as everything i need to know ... Thank you in advance.. -- J.

Hi, J!

"Got guitar-ism. Need sing-ism." With that kind of word play, you might be a great lyricist.

I specialize in training beginning vocalists. I can guide you to sing-ism, everything from how to sing in tune and how to be present in the back row of the hall, to crafting your career and stage act. Everything.

Now for the barriers:

~~ You need to commit to work and practice during regular lessons. You need to commit to AT LEAST an additional :30 minutes three times a week. Triple that gets better results.

~~ Your home is outside my travel area. If you travel to East Portland regularly, we might meet somewhere there. Another solution: about half my students (some are overseas) take their singing lessons online. Get a computer headset and a free Skype account, Yahoo Messenger, or the like and you can take your lessons on-line.

~~ Share the credit information Wyzant wants so we can connect in person.

~~ Schedule your first lesson. What weekday afternoon (Pacific Time [GMT-8]) can we connect for an hour soon?

I hope to see your reply and hear your voice soon

Gary Shannon
Portland, OR

Hourly Rate: $36.00*
* Rate for advance purchase of at least 10 hours of tutoring ($40.00 otherwise).

Your first voice lesson

2008-07-03T09:40:00.000-07:00

A new student request contact:

I am interested in experimenting with my singing ability. I am 23 years old and getting a late start with my desire to sing. I have no other prior experience with voice lessons of any kind or music lessons. With you have some time in your schedule I would like to possibly sign up for lessons with you. Looking forward to hearing back from you.
Thank you, [Name withheld]

Hi!

Gary Shanon, Oregon Portland/Gresham voice-mentor here.

This is a great time to get started. 23 is hardly too late! Chances are that you've been singing your whole life. You've already started if you've sung in a choir or karaoke with a good host. We'll take that experience and build on it.

In your first lesson, I'd like to find out what your dreams are, hear you sing a song and find out what you need and want to learn. Then we start practicing and really mastering what you need and want. Toward the end of the lesson, you'll get a homework assignment. Then we'll schedule your next lesson.

This 2008 summer, I normally teach during the day, since evenings and weekends are reserved for my gigs and my family. We'll also need to pick a place to meet: we can use your home, we can meet online or by phone, or there are places we can use near my home near I-205 and Powell Avenue.

As soon as you complete your contact/billing information, we can start!

Gary Shannon
Portland, OR
45 minute rate: $37.00*

What choirs want

2008-06-12T10:31:00.000-07:00

This e-mail is from a singer we heard audition last weekend, but could not accept into Portland Symphonic Choir:

---------------------------------------------
Thanks for your feedback and for hearing me at my audition.
I wonder if you could answer a few questions that would help me perform better in the future:
What do you look for in members of the PSC? What can I do to improve my voice as you heard it, and how can I perform better in future auditions? How can I improve my chances of getting into an auditioned choir in the near future? Thanks for your input--- and good luck with the coming season of song!
Sincerely,

- [name and e-mail withheld]

--------------------------------------------------

Hi!

Gary Shannon, Portland Symphonic Choir tenor section leader here. Mark in the choir office forwarded your e-mail to me.

Generally, any major choir is looking for strong voices with a free, natural tone color. We cannot accept voices that are regularly out-of-tune, forced, nasal, swallowed, throaty, shouting, inaudible, strained, quavering, breathy, or pinched. Preparing music on your own, adequate vocal range and sight reading ability are secondary considerations.

Voice lessons are always recommended - even our very best singers take voice lessons, sometimes from each other. A free, well-supported sound, without much strain or effort is the goal, and it usually takes an outside ear or two to help develop it.

The audition committee generally does not generally give out details on why we select some singers and not others. However, if you will write back to me and tell me what song you sang for us to jog my memory, I will answer what I can regarding your own audition, and preparing for your next one.

Yours, Gary Shannon
I teach online voice lessons! www.voice-mentor.com My passion: Your art.
4022 SE 100th Ave. Portland OR 97266 503-761-1837
( 8-{D} Balding, bespectacled, mustachioed, happy, bearded guy, usually open mouthed.

Renato Fabbro

2008-06-02T11:58:00.000-07:00

I've had the good fortune of connecting to this ace pianist through Portland Symphonic Choir. Since he has no web-page yet, here is a note about him. Ron deserves a web presence.

Officially, per Tualatin Presbyterian Church::

Renato Fabbro received both Bachelor of Music and Master of Music degrees in piano performance from the University of Colorado at Boulder, where he studied with Larry Graham and Angela Cheng respectively. As a fellowship student at Rice University, he received a Doctor of Musical Arts degree under the tutelage of John Perry.

Dr. Fabbro has performed at the Aspen Music Festival, Sarasota Music Festival, Boulder Bach Festival, Idyllwild Arts Academy, and was recently invited to give a master class at Marylhurst University in Oregon. Competition prizes include top honors at the Fort Collins Symphony National Young Artists Competition, Young Pianists Competition, MTNA Wurlitzer Collegiate Artist Competition, and the Lee Piano Competition. Concerto performances include those with the Fort Collins Symphony, Grand Junction Symphony, Centennial Philharmonic of Denver, Colorado University Orchestra, and the Grand Junction Youth Symphony.

Dr Fabbro has served on the faculty of Lee College, and has also taught at Rice University and the University of Texas at San Antonio Summer Music Institute.

Un-officially, Ron simply plays piano beautifully, accurately and reads music like nobody's business. That, and he knows all the same cartoons I do.

Understudies

2008-05-16T10:10:00.000-07:00

Woohoo, Mr Oh!

I hope you get to sing "Timeless" in the medley - the first time DW and I heard it, we fell in love all over again. After 25 years of marriage, we finally found "our song".

My parallel story this week is with Portland Symphonic choir's performance of Oregon Symphony: Carmina Burana this weekend: I learned/understudied/sang for rehearsals the tenor solos (the featured number is literally a "swan song" that requires shrieking as you anticipate being butchered, cooked and eaten by the chorus). Our out-of-town pro soloist showed up last night, fit and healthy, and sang it wonderfully. I got more laughs that he did, but his voice carries better than I would have. Instead, I'll sing with the chorus and eat him up.

Yours, Gary Shannon

I teach online voice lessons! http://www.voice-mentor.com/ My passion: Your art.
4022 SE 100th Ave. Portland OR 97266 503-761-1837
( 8-{D} Balding, bespectacled, mustachioed, happy, bearded guy, usually open mouthed.

>>In a message dated 13 May 08 10:43:24 P.M. Pacific Daylight Time, Mister oh writes:

I wrote a while ago telling everybody how I was auditioning for a solo in the upcoming concert for the chorus (it's this Saturday!!)
Although I didn't get a solo initially (other than the brief chanting I do in the Lion King number) fate came into action. The chorus member who got the part of Edna Turnblad in our Hairspray medley has a work conflict and cannot do the concert. Alan had called me a few weeks ago to ask if I could do the part. I agreed thinking that it was just for our run-out performance at the church in Riverside (which was a couple of Saturdays ago). Turns out that not only did I perform it then, but I am also doing it on the big stage at the McCallum theatre this Saturday. In full drag. With costume change. I've already shaved my beard (moustache to follow) and did my legs on Sunday. THAT is a weird sensation! Feels like my legs were dipped in oil. Somebody gave me a fat suit (it's from a Halloween costume - the overweight stripper) and it is quite a scream. I found a lovely "social" dress at Ross, it's a 22W and is quite a stunner. I'm going to put a blue duster over it for the number before so that I can do a quick change from frumpy Edna to glamorous Edna. I'm sure there will be photographs/video to share later....

First Assignment

2008-02-25T10:01:00.000-08:00

Hello!
I am 20 years old. Basically I am a severely out of shape vocalist. But, I REALLY want to get back my old ability that is tucked away in my vocal chords somewhere and continue to grow my range and fine tune my talent. I would like to be on the worship team at my church, but I am too embarassed to volunteer at this point. I do need someone that is affordable. =-)
Thanks bunches!

Dear Bunches:

I assist singers like you all the time.

I will have you do a lesson with me every three weeks. We will also do telephone follow-ups to make sure you are doing what you need to do to make your goal. It dosen't get more affordable than this!

Here is your first assignment:

Eat and sleep right.
Drink eight 8-oz glasses of water everyday.
If you are ill, do what it takes to get better.
Exercise so your body has strength and stamina.
Sing (really SING) at least three times a week for at least 45 minutes.

It doesn't matter so much WHAT or how you sing or exercise or eat or sleep, but THAT you sing and exercize and eat and sleep and all that.

Contact me soon.

Gary Shannon, Portland, OR
503-761-1837
mentor@voice-mentor.com

Cover Letter

2008-02-16T10:17:00.000-08:00

2008-02-16

Dear "Find A Job" Client:

Normally, when applying for a management position, I carefully research your corporate values and purposes before deciding to apply. My cover letter would underline aspects of my own goals, purposes and activities unified with your mission. Since I have no idea who is seeing this document, let's skip researching you and tell you about me. If we're a match, you'll work that out for yourself.

In physique, I am perfectly average - you won't notice me twice on the street. Maybe you'd notice I dress well, but nothing bling. In speaking and communication, though, I am anything but average. I listen a lot more than I talk. I get jokes. I don't solve your problems unless they really are mine to solve. What I do say resonates. I will show you what I think is best. I don't insist on my own way. I am deeper than I seem (so are you, and I know that).

I have unusual training and experience. I am certain you do not need to hire a professional vocalist and music teacher and conductor. Consider, though how those skills and abilities to work solo or in ensemble, as a leader, follower or enabler, translate into your field. In these positions, I planned or assisted in planning the budget, dates, venues, repertoire, and marketing. I auditioned and coached choristers, soloists and instrumentalists. I wrote, arranged and improvised music as needed, and directed rehearsals and conducted performances.

Tedious details here:
As a vocal musician, my skills include conducting and directing; keyboards (including piano, organ, MIDI and electronic keyboards); vocalist (tenor, counter-tenor, baritone in Classical, Theater, Opera, Ancient, Rock and Pop styles); composition and arranging (part-songs, reductions, theater music, chamber music); teaching.

Education: BA in Music Theory/Composition and BA in Music Education from San Jose State University in 1979 under Dr. Charlene Archibeque, with minor studies in Voice, Keyboards, Accounting and Theater.

Awards:
Portland Yamaha Organ Competition, Grand Prize Winner, Senior Division, 1992
California Association of Community Theatres, "Best Actor in a Musical" 1975

Employment: I served as: Music Minister for Unity Church of Portland from May 2005 to March 2007 Substitute Choirmaster/Organist at All Saints Episcopal Church since 2002, Rehearsal Director (1986 –1993) and Arranger for The Dickens Carolers since 1986, Chorus Coach for Cabaret Magnifique (1996) and Unicorn Theatre (1973-1980), Performing Arts Teacher for The Delphian School in Sheridan Oregon (1976-1979), Guest Conductor/Music Director for Oregon Repertory Singers in 1995 and 2000, Director/Organist for Portland Scientology Celebrity Center Singers (1993-1999) Director for Rose City Timberliners SPEBSQSA Chorus since 1998, Tenor Section Leader for Portland Symphonic Choir since 1998

I served as a professional actor, chorister and/or vocal soloist with: Choral Cross-Ties, Portland Symphonic Choir, Oregon Repertory Singers, Dickens Carolers, The Musical Company, Cabaret Magnifique, Portland Symphonic Choir, North West Chorale and several local churches (All Saints Episcopal, First Methodist, St. Mark’s Anglican). I in English, Latin, Italian, Russian, German, Spanish, Hebrew, French, and other languages. Private voice coach, voice teacher, piano teacher and accompanist since 1992. http://www.voice-mentor.com/

Other jobs I've held include sound recording engineer, website-designer, IT specialist, computer applications coach (I've successfully coached users with new applications using my broad knowledge of software and hardware), private school chef, short order cook, caterer's assistant, and fast food manager.

"To Love, in spite of all, is the secret of greatness." I donate and volunteer regularly to several causes: Goodwill Industries, Food for the Poor, Portland Symphonic Choir, the Barbershop Harmony Society, Catlin Gabel School, David Douglas School District, the Lutheran Synod, All Saint Episcopal Church, the Citizens Commission for Human Rights. I look for similar passions in my fellows.

Summary:
What else might you need to know? I prefer part-time work. I love living and playing in Portland Oregon. I have allergies I control by diet. I rarely take any drugs. I think outside the box - sometimes that thinking says, "Use the boxed solution." My happiness does not depend on your approval. (Yours doesn't depend on mine, either.) I smile easily.

Contact me anytime, any method.

Gary Shannon

4022 SE 100th Ave., Portland OR 97266
503-761-1837 garyshanno@aol.com http://www.voice-mentor.com/
Skype: voice.mentor
(8-{D} <-- Balding, bespectacled, mustachioed, happy guy

MY WEBSITE EXISTS

2008-02-13T21:54:00.000-08:00

Well, it's only a start, but here it is. My son himself informs me that my website is terrible. I figure, for a beginner, it's more important to MAKE it, then go back and make it better. As long as I'm not mis-representing, I can't really get in trouble.

I'm really happy with the domain name too.

http://www.voice-mentor.com/

I still haven't quite worked out how to make online payments work, but I supsect Paypal has all the tools I need. That will go in next.

Nature's Clues

2008-02-05T08:13:00.000-08:00

There is no substitute for a variety of food being well prepared to lay a foundation of good health. I found this unusual view in my inbox.

A sliced carrot looks like the pupil, iris and radiating lines of the human eye. Science now shows that carrots greatly enhance blood flow to and function of the eyes.

A tomato is red and has four chambers. The heart is red and has four chambers. Research shows tomatoes are indeed heart and blood food.

Grapes hang in a heart-shaped cluster. Each grape looks like a blood cell. Research today shows that grapes are profound heart and blood vitalizing food.

A Walnut looks like a little brain, a left and right hemisphere, wrinked and folded like a neo-cortex, cerebrum and cerebellum. We now know that walnuts help develop over 3 dozen neuron-transmitters for brain function.

Kidney Beans actually heal and help maintain kidney function and yes, they look exactly like the human kidneys.

Celery, Bok Choy, Rhubarb more than look like bones, these foods specifically target bone strength. Bones are 23% sodium and these foods are 23% sodium. If you don't have enough sodium in your diet the body pulls it from the bones, making them weak. These foods replenish the skeletal needs of the body.

Eggplant, Avocadoes and Pears target the health and function of the womb and cervix of the female - and they look like these organs. Today's research shows that when a woman eats 1 avocado a week, it balances hormones, sheds unwanted birth weight and prevents cervical cancers. (It takes 9 months to grow an avocado from blossom to ripened fruit.)

Figs are full of seeds and hang in twos when they grow. Figs increase the motility of male sperm and increase the numbers of sperm as well to overcome male sterility.

Sweet Potatoes look like the pancreas that produces insulin for the regulation of segal levels in the body. You can guess that the sweet potato can help balance the glycemic index of diabetics.

Olives assist the health and function of the ovaries

Grapefruits, Oranges, and other Citrus fruits look just like the mammary glands of the female and actually assist the health of the breasts and the movement of lymph in and out of the breasts.

Onions look like body cells. Today's research shows that onions help clear waste materials from all of the body cells. They even produce tears which wash the epithelial layers of the eyes

Water. Air. Food. Shelter. Always back to basics.

Voice-Mentor.com

2008-02-02T07:26:00.000-08:00

A Mentor is:

a trusted guide
an experienced tutor
a selfless coach
an aid to others toward their own dreams.
informal, helpful, wise, encouraging and supportive.
appreciated and valued.
attentive and confidential.

A Mentor is NOT

threatening or abusive
overbearing or bossy
gossipy, negative or a rumor-monger
intolerant or judgemental

This is what I bring to my online voice studio at Voice-Mentor.com .

Acid Reflux

2008-01-29T20:53:00.000-08:00

Disclaimer: I'm no doctor. This is simply what I learned and how it worked for me.

Here is how my Chiropractor cured my acid reflux. No medication involved.

I had it really bad, too. Every morning, sore throat like strep throat, bad digestion, bad breath, almost throwing up after meals. Couldn't sleep. Voice only a sliver of itself. Could still lay out a smooth barbershop tenor, but symphony and cantor and opera and musicals, not coming out okay.

Turns out that between my strong, tense abdominal muscles and singing from the diaphragm, the top bit of my stomach was squeezed up through the natural opening of the diaphragm into the esophagus. The little mucles that close off the top of the stomach were pinched oddly, being too high in my body. Thus, there was no way to close off the stomach acid from the top. Yuk. He called it a hiatal hernia.

Anyhow - here's what my Chiropractor had me do:

For a couple weeks, limit the diet to alkaline foods to keep the acid level down. I did fine on just about any herbal tea. Rice. Potato. Lean meat and veggies okay. Not most fruit. Milk/Dairy was okay, but I disliked 'em.
Twice a the day, self massage: Press fingertips of one hand into the center of the torso right below the sternum. Slide down slowly to center of belly to encourage the stomach to settle down into its normal place. This is not a comfortable action - pressure there made me feel nauseous, and I could feel it pulling under my chin.
An hour before bed, drink 16 oz. of water (yes, I had to get up during the night. tough.) As soon as it's all in, do this exercise to get the stomach down: a) stand on tiptoes, body erect, then b) bounce your heels onto the floor. Do this 30 times. The stomach full of water will settle into it's rightful spot. While you sleep, diaphragm and stomach get used to their new positions.
During all this, I learned to relax the abdomen while supporting my singing with the diaphragm so I wasn't continually causing myself more squeezing problems. Voice and ease of singing improved a lot.

After one week of this, nighttime reflux was gone. After one month, all reflux was gone. It hasn't come back, not matter what I eat or drink.

I'm no doctor, and I don't know if your reflux had the same cause mine did, but since you asked, there it is.

Gary Shannon

Music business

2008-01-05T11:06:00.000-08:00

Nobody likes to see someone write about himself.

Here are a few neat Christmas gifts:

"Straight Up, No Chaser" 12 Days of Christmas

The Dicken's Carollers of Portland, Oregon

Searching for online voice lessons?

I've usually held two careers: one theatrical/musical and one accounting/managerial. I've usually had two avocations: computer programmer and enigmatist. Putting all those together, I am making my own web-based music business to teach voice lessons live on-line.

Biography

2008-01-05T10:44:00.000-08:00

A prominent member of the Portland choral community, Gary Shannon graduated from San Jose State University with a Bachelor of Music in Composition and Education with highest honors in 1979, having written two musicals and an opera as an undergraduate. Immediately moving to Portland Oregon, he began serving as musical director for “Unicorn Theatre”, “The Musical Company” and “Cabaret Magnifique”. Later, he became music director and arranger for The Dickens Carolers, then guest director and arranger for The Oregon Repertory Singers in 1992, and then vocalist and counter-tenor soloist with the internationally recognized “Choral Cross-Ties”. In 1992, Mr. Shannon became the Grand Prize Winner in the Portland Yamaha Organ Competition. Local churches have regularly secured his services as a vocalist, keyboard artist and professional chorister, including All Saints Episcopal Church, Unity Church of Portland, Sunnyside Seventh Day Adventist Church, First Methodist Church of Portland, St. Mark’s Anglican Church, and the Portland Church of Scientology.

An accomplished actor, Gary has won numerous awards. He holds the second highest score ever awarded by the Association of Community Theaters to an actor in any performance (the first prize award in 1982) for his “Judas” in “Jesus Christ Superstar”. (Later, Henry Fonda’s portrayal in “On Golden Pond” scored one point higher.) Gary’s favorite roles include “Archy” in “Archy and Mehitabel”, “MC” in “Cabaret” and “Count Orlofsky” (as a counter tenor) in Straus’s “Die Fledermaus.”

Mr. Shannon’s was recruited for tenor solos for Oregon Symphony Orchestra’s concert version of Bernstein’s “Mass” then again for Gershwin’s “Porgy and Bess”, and “Chichester Psalms”. These solos were reprised and expanded for the Cascade Music Festival to include concert excerpts of “West Side Story” and “Chichester Psalms.” His current repertoire includes tenor and counter-tenor solos from Bach’s “Wachet Auf”, Handel’s “Messiah”, Rachmaninoff’s “Vocalise”, Gluck’s “Orfeo” and P.D.Q. Bach’s (Peter Schickle, ed.) “Bargain-Counter Tenor” in “Iphigenia in Brooklyn”

Currently Mr. Shannon is contracted as the tenor section leader for the Portland Symphonic Choir, the music director for The Rose City Timberlines Men’s Chorus and recently, the music director, organist, pianist and soloist for St. Timothy’s Lutheran Church. He lives in the Lents neighborhood in beautiful Portland, Oregon with his wife and two children.