Convect Your Way to Success

Convect Your Way to Success Or What I Learned from Continental Drift

At the turn of the twentieth century, there were two theories bandied about to explain the curious matching of coastlines, most notably the near-perfect spooning of South America into Africa.

One theory put forward was that Earth must have been much smaller in the past and then expanded—like a balloon—forcing the coastlines apart.

The other theory was that the continents simply lost interest in each other and over millennia gradually drifted apart.

Hobby-horse-continents

Originally, the Expanding Earth theory held the dominant sway among those concerned with such phenomena while Continental Drift held little. But over the ensuing decades of research, the two theories reversed their polarity and now Continental Drift has gone mainstream relegating Expanding Earth to a back eddy of angry comic book artists ranting late night on myspace.

I drift. And why not?
It’s good enough for continents; why not me?

The problem with an Expanding Earth is that there’s no known (or plausible) source for that expansion. Where’s all the extra matter coming from and what’s moving it? Whereas Continental Drift has a clear energy source, Expanding Earth has none. You can’t move anything, least of all continents, without energy.

Continental Drift’s energy source emanates from the earth’s core where gravity (the Earth’s and the Sun’s) is heating up the mantle and causing convection to put pressure upon the surface. A common analogy for this process is soup boiling on a stovetop causing its surface scum to move (continents are scum—you heard it here first).

Yes, Continents Drift.
But Whither They Wander, They Care Not.

I knew a man who insisted that medieval maps, with all their childlike inaccuracies, were in their day actually truthful depictions of the world at that time. In his understanding, it was Continental Drift that had rendered the maps inaccurate.

I should have asked if the fanciful marginalia depicting griffins, sea monsters, and galleon-devouring leviathans was also factual, they presumably having mysteriously died off just as the Age of Reason dawned, “Thar be monsters! Oh wait. Never mind, they’re gone now.”

There is an ocean of truth that separates how we perceive things and how they actually go. Imagine, as in the scenario above, if we had gone from Gondwanaland to the present setup in under 500 years. What a bumper-car ballet that would have been—land masses scudding across the seas, their inhabitants waving helplessly from the hilltops as they sailed past. Morocco would say “Farewell”, to Nova Scotia while “Hasta la vista!” would come a final chide from South Africa as Argentina departed bound for pars incognito. “Hey, mind your steppe!”, Nepal and Tibet would sneer in condescending unison at the careless approach of the Indian…ahem…sub-continent.

Other than deep time and incalculable amounts of basalt, what’s the difference between continents and people? If India were—half way along its route into Asia’s underbelly—suddenly to stop mid ocean and say to itself, “Where was I going with this again anyway?” Continents simply drift, but it’s fair to say they never digress.

Continents Drift, but People Digress

As previously discredited, Expanding Earth postulates that there was a smaller Earth, then something (magical) happened, and the Earth became larger. Expanding Earth is pure fantasy yet it does serve to explain how dreamers dream.

I don’t mean visionaries or people who live to see their dreams fulfilled. I mean, unrealistic people or any of us when we’re thinking unrealistically, because let’s face it, it’s in us all to waste a portion of our lives dreaming fruitless nonsense.

We think, in these times, “I’m small and then when something magical happens, I’ll be bigger.” But if we’re to affect real change in our lives, we have to follow the lead set by the continents under our feet. Such change requires constant pressure and patience—the universe is taking care of patience (in spades!)—so it’s our job to take care of pressure.

Continental Drift is sometimes a very personal matter, although in a general sense it can be summed up in the following six-step process:

Step 1:   Set your course in the direction you want to go and then start going there. Talk to people, build your resources, take action, do things, most of all…apply pressure.

Step 2:   Expect nothing (you’re not likely to see any results for a long time). Don’t miss this step—it’s very important.

Step 3:   And don’t digress. Keep applying pressure in the direction you want to go.

Step 4:   Eventually something’s going to give. It will happen like a jolt—like an earthquake. It may even seem like magic (it will certainly seem like magic to others who don’t see all the pressure you’ve been applying). You will have moved incrementally in the direction you want to go.

Step 5:   After the jolt, the pressure will be released for a time. Nothing will start happening again. Don’t worry.

Step 6:   Repeat steps 1 through 5.

That’s it! It’s not magic. Sometimes drifting moves mountains. Hell, it’s good enough for continents, so why not you?

“No man is an island,

entire of itself;

every man is a piece of the continent,

a part of the main.

If a clod be washed away by the sea,

Europe is the less,

as well as if a promontory were.

as well as if a manor of thy friend’s

or of thine own were.

Any man’s death diminishes me,

because I am involved in mankind;

and therefore never send to know for whom the bell tolls;

it tolls for thee.”

—John Donne, 1572–1631

The Moon and the Leaf Blower

Moon&LeafBlower

Apart from the noise and the self-evident futility of the common leaf blower, what most disturbs me about the whole practice of charging money to fling nature’s bounty into the neighbour’s yard is its name. It lacks a certain…poetry.

In English, we’ve employed clever tricks to give everyday joe-jobs a sense of honour and wonder. These include translation into dessert-sounding Romance languages and obfuscation with marketing bumf (aka, bull).

Take our penchant for French titles. Translating some plain old English thing into French instantly transports it from the mundane suburb where it resides to the court of Louis XIV. Thus, “Kitchen Help” is elevated to “Sous-chef”, “Hairdresser” is blown away by “Coiffeur”, and “Civil Servant” escapes all its grey servitude in the guise of “Attaché”.

We also like to upmarket ordinary jobs by inventing bullshit English job titles. This technique effectively euphamizes their true nature, transforming the lowly “Dishwasher” into a “Ceramic Technician” and the “Garbage Man” (in addition to solving the need for gender neutrality) into the commanding “Waste Aquisition Officer”. This practice circulates so widely it scarcely raises eyebrows anymore, as in the “Marketing Assistant” who now can claim status as “Social Media Guru”.

But “Leaf Blower”…hm. That one stands awkwardly in its field (both the job and the machine)—unadorned and entirely lacking any pretension of upward mobility.

What if we borrowed a little from French—would the title gain some of that gallic allure if we opted for “Coureur de Feuilles”? Has a certain je ne sais quoi, non?

Or taking a more technical tack, we could simply render “Leaf Blower” as “Astro-arborist”, as in “Dammit Jim, I’m just a doctor, not an Astro-arborist!”

“Ah, Moon of my Delight, who know’st no wane,
The Moon of Heav’n is rising once again:
How oft hereafter rising shall she look
Through this same Garden after me—in vain!”
—Omar Khayyám

Celebrate National Upspeak Day?

BC Ferries’s busy route plying the waters between Victoria and Vancouver sees lots of tourists, many of whom have no idea about (or care for) the local marine life they’re sailing over.

Perhaps that’s why the crown corporation has seen fit to add a biologist to its retinue of stewards, cashiers, and deckhands—to provide a little eco®–friendly PR about local marine life up top as their powerful propellers churned it up down below.

On a recent trip, the particular onboard biologist on duty delivered her short talk on marine ecology—entirely in up-speak…

She:

“Eelgrass is a flowering plant?”
We:

(Silence)
She:

“It’s found along the coast of BC in sub-tidal areas?
We:

(Silence with a few looking about for the exits)
She:

(Before anyone could decide whether to accept or refute her previous semi assertions),
“Marine animals depend on it for their survival?”

By this point, her up-speak had an urgency that was making everyone uncomfortable. Those who hadn’t already left were now fidgeting with their phones (perhaps hoping the answers could be found there—you never know, debarking might be preceded by an exam). I tried to listen and learn something, but finally got up for coffee and some other less arduous distraction.

On Being in Tune

OnBeinginTune

Last night on YouTube, I interspersed viewings of hurricane Irma raging across the Caribbean with research into what other clarinettists consider to be playing in tune. My conclusions: This is a poor time to book a Caribbean holiday and, two, most people have not the slightest notion why they are proponents of long-tone exercises.

Playing long tones is like a religion that’s degenerated into empty gestures of devotion. Lacking any concept as to the intent of long tones, one tuning guru said, “The purpose of long tones is to, well, here’s how to do them…”, and he proceeded to play. Later, he added “Long tones are necessary so you can check your pitch”, but as he played, my tuner registered huge pitch swings (I don’t know what criteria he was using to check his pitch—he had no tuner in sight). For him, playing long tones is an act of faith.

Another proponent of long tones kicked off her presentation with the statement, “The reason for playing in tune is so you can play with a piano or other instruments.” While this isn’t entirely incorrect, it entirely misses the point of playing long tones. The primary purpose of playing long tones is to play in tune—with yourself. Each pitch is in tune relative to pitches around it, so once you’ve played a note, the note to follow must correspond in tuning with the first. Also, there are laws of overtones to consider, which is where Mr. Pythagoras enters with his observations about sound waves. A pitch an octave above its predecessor will vibrate at double the rate—if it vibrates at any other rate, you’re out of tune (or you’re not even playing an octave).

Out in the weird world of YouTube, there’s a tuning troll who wants to take issue about tuners and how people use them. He’s learned about Natural tuning and Tempered tuning and wants to use his knowledge to bludgeon the long-tone gurus for their well-intentioned but inaccurate videos. Tuning Troll has a good point, but I think it’s an erudite sideshow designed to distract from the simpler task of playing relative pitches in tune. And here’s why.

Tuning systems don’t even come into play when considering unisons and octaves, which is why they’re a good place to start. Parenthetically, they come in later when looking more deeply at relative pitches and harmonic structures. For example, the note B is tuned differently within a G major triad (it’s the third, which means in Natural tuning it needs to be lower than Tempered tuning would assign it) compared with an E major triad (it’s the fifth, which is relatively higher). For now, stick to unisons and octaves and the good old Pythagorian way.

I’ve left the identities of the above-misguided tuning gurus anonymous, but I’d like to call out this one excellent video on tuning. It’s by master clarinettist Jose Franch-Ballester. I’ve had the opportunity to sit down with him and learn first hand what his approach is, and in my sessions (and most importantly for you, in the following video), he explains the purpose of long tones. It’s almost all you need (well, that, and a couple of iPads) to get started playing in tune.

Nerdy good times – a tárogatónist’s confessional

Nerdy-Good-Times

Quite apart from being unquestionably sexy and having a reputation as savvy trendsetters, musicians also have a nerdy side. When string players visit their favourite luthier to have their bows rehaired, they will talk with disturbingly fevered intensity about the relative merits of Appaloosa over Arabian horse hair required for the job. Pianists tie rubber bands to their fingers to increase dexterity, and are known to also have preferred rubber band manufacturers, about whom they argue on Internet forums. Of course, none are worse than oboists who have no social life whatsoever. How could they? They spend the greater part of their lives sealed up in basement cells shaving their reeds down to a microscopic fineness; then, emerge only to perform and complain about how much more work they need to do to achieve reed perfection. To a lesser degree, it’s the same for other woodwind players of reed instruments: As a rule, most reed players can’t tell a bad reed from a bad week.

By taking up the tárogató, I seem to have painted myself into a particularly arcane corner (even by musician standards), so it’s no surprise that I too find myself just as prone to the same sort of nerdy obsessiveness as what dogs players of other instruments. It was inevitable.

Studio
Working on Adam Hill’s “I Will Stay Here” for tárogató and electronics

When I commissioned my tárogató from Toth & Tarsa of Budapest, I was provided with a deluxe menu of options similar to what you might expect when purchasing a custom Tesla or investing in a teak plantation. I could choose the wood (cocobolo), the fingering system (I chose the German Albert system over the French Boehm only because I’d been playing a borrowed Albert system tárogató prior to investing in my own horn), and the mouthpiece style (I naturally chose one that would take a clarinet reed over one that took a soprano saxophone reed—there are no tárogató reeds).

My tárogató's birthplace - Budapest, Hungary
My tárogató’s birthplace – Toth & Tarsa, Budapest, Hungary

When my tárogató arrived, I was delirious with joy and didn’t mind some of its funky tuning (“hey, it’s a folk instrument!”) and its limited range (only two octaves compared with four on the clarinet). Gradually, however, that nerdy musician thinking started to peer into the room and make suggestions about how—if only I tweaked this or bought that—my playing would improve unstoppably.

All my neighbours are out of earshot of my practising, so it is to their good fortune that they missed out on the months of squawking that transpired as I attempted to extend the range of the instrument. While clarinettists can chose from a number of method books that contain vast anthologies of fingerings for every note on the clarinet (I have one such book with over forty fingers alone for the altissimo G#), the tárogatónist must contend with a miserable starter’s fingering chart displaying but one fingering per note. Working on the two new works I commissioned from Jeffrey Ryan and Adam Hill forced me to extremes, so thanks to them and a lot of aforementioned squawking, I have now amassed quite a handsome new chart of tárogató fingerings.

Tarogato-fingering-chart_Jason-Hall
Caution should be taken when attempting these fingerings as they have only been tested on the Albert system tárogató (nobody knows for sure what would happen on a Boehm system tárogató).

Just as tárogató reeds are not known to exist, tárogató mouthpieces are a rarity. You can’t just march into your local guitar and drums music store and demand to see their display of tárogató mouthpieces.

LOTR_tarogato

My tárogató came from Budapest with a pleasant sounding mouthpiece, but with nothing to compare it against, I really couldn’t be sure if it was good or not. My quest for a superior mouthpiece led me to Dr. Ed Pillinger of Middlesex, England.

Dr. Ed is a skilled craftsman who spends most of his days whittling away at custom clarinet and saxophone mouthpieces. But every now and then, some tárogató-wielding colonial who’s heard he makes a good Stowasser copy, rings him up. I now have two “Pillingers”: one is pitched at about A445 (European pitch), whilst the other is pitched appropriately for North America at A440. The doctor and I had to find a cure in the latter one when the former one proved untunable and untenable with piano (or anybody on this side of the pond).

Pillinger-mouthpieces
Photographed on arrival (nothing makes social-media light up like the arrival of new tárogató mouthpieces).

With all this nerdiness now becoming a fixture in my life, I was instantly smitten when clarinettist François Houle let me try his new Ishimori Kodama II ligature (the thingy that holds the reed onto the mouthpiece). Smitten enough that I couldn’t be stopped until one of these babies was flying its way to me from Japan (of all places).

Ligature-instructions
Ishimori & Co. wins “World’s Shortest User Guide” award for 2017.

All of these marvels together has done much to strengthen the tuning of the instrument (no more excuses) and improve my confidence in the upper register. I’ve yet to start affixing tape into tone holes, a laborious practice to coax individual notes into pitch by adding successive layers of electrician’s tape (or as I’ve recently learned, “Kapton tape” available at any fine purveyor of model train accessories). Tone-hole taping will undoubtedly commence once all the new equipment has had time to settle in.

Tarogato-setup
A marvel to behold – New Pillinger mouthpiece with even newer Ishimori ligature.

So if ever you have romantic thoughts of the life of a musician as some care-free communion with the muse, think again: Musicians are about the nerdiest people you’ll ever meet.


Jason plays a custom Albert-system cocobolo tárogató made by Toth & Tarsa of Budapest, Hungary, a replica Stowasser mouthpiece by Pillinger Mouthpieces of Middlesex, UK, a Kodama II ligature by Ishimori Wind Instruments of Tokyo, Japan, and Légère Signature synthetic reeds formulated by Guy Légère of Montréal, Canada.

Tarogato-Project-logo

On 30 April 2017 (4pm),
The Tárogató Project and St. Philip’s Church (Dunbar) presents
“REFUGE”
a concert of Hungarian music and stories (old and new)
of refugees to Vancouver.
St. Philip’s Anglican Church,
3737 27th Avenue West,
Vancouver, BC, Canada