Great work! What a powerful set of documents

Yesterday in our working sessions with our inter-provincial customer, they complimented the product document suite. Not only are they starting to realise what a powerful set of documents it is for them, but they also said it presented a really professional image for our product — in fact, they asked if our actual product was as mature as we’re making it look. Great work!

—Jon Chapman CEng PMP , Project Manager, BCLC

The Tárogató Project – Wrapping It Up

If the Tárogató Project hadn’t wrapped up with the concert (30 April 2017), then it certainly did when I submitted the final report to BC Arts Council. Doing so reminded me of all the people and events that came together (and that never would have otherwise).

About the Tárogató Project

The Tárogató Project (aka “Building a uniquely British Columbian Repertoire for the Tárogató”) was intended to commission two BC composers to each write a seven-minute piece of music for tárogató, which would build on its contemporary concert repertoire while not losing sight of its traditional folk roots.

By tying the commissions with an historical event, the project achieved far wider interest than would have been possible with only the commissions. The historical event was the 60th Anniversary of the arrival of Hungarian refugees to Vancouver, in particular about 200 faculty and students from the University of Sopron’s Faculty of Forestry. The alumni went on to have a significant impact on UBC, and forestry practices in British Columbia and the final concert was attended by several families descended from the original group.

The Project includes some notable artifacts

Listen to Arbutus by Jeffrey Ryan

Listen to I Will Stay Here by Adam Hills

Testimonials and letters: I received some importants letters of congratulations before and after the concert.

Also, I built a very cool new fingering chart for the tárogató, which is superior to anything I’ve been able to get my hands on. I offer it freely below.

Concert Programme

Big thanks to UBC’s Department of Forestry for helping to promote the concert and for coming on as a sponsor. Also, thanks to Vancity for providing some support with the concert itself. Their financial support helped St. Philip’s Church continue to offer such concerts without expending its music fund.

What I Learned

The entire process took a year and it carried with it its own joys and heartaches. I learned how hard it can be to work with musicians, many of whom function in some sort of off-the-grid pre-internet world, so arranging rehearsals was an extreme challenge. My 91-year-old mother is more reliable when it comes to responding to emails. On a brighter note, this project gave me something of great value to work at in music. It’s definitely whetted my appetite for excellence although time has worn of some of the downsides striving for excellence can bring. I understand my own perfectionist traits better and also my laziness. I’m learning on the one hand to chill out more, while on the other to quit wallowing and accept that some things require hard work to achieve.

 

Local Culture; local business

One of the most time consuming parts of producing a concert is getting the word out. When disbursing posters, the locally owned shops are better (because they get what local means); whereas, the megacorp emporia along the Cambie retail strip leave me negotiating with store greeters and those vacant McJob stares.

Also despite their large footprint, most megastores have no place for posting community and local events (although to their credit, Buy-Low Foods did offer to put a poster up in their employee lunchroom — so if I see a row of Philipino ladies at the concert, I’ll know my efforts were not in vain).

That’s why I have a special shoutout for Solly’s Bagelry for taking our concert poster after store hours and the great conversation we had about the tárogató and how Vancouver and the Hungarian Revolution overlapped and its importance to today’s refugees in Canada.

Everything Passes – Forgetting & Remembering

I have a habit of staring at Facebook just a little too long. I enjoy the jokes,and the concert updates, sometimes the politics, but eventually the full weight of the world’s woes overwhelms me. Take for example the story of how the Saint John City Council greenlighted the destruction of several historic wooden row houses, known locally as the “jellybean houses”.

Even Vancouver developers in their naked lust for property development opportunities would blanch at thought of knocking down such buildings (of course Vancouver’s historic stock barely pre-dates the 1940’s, where Saint John’s jellybean houses survived the Great Fire of 1877). So I’m mourning the loss of heritage and the passage of time.

That’s what I found so compelling about Mark Haney’s Omnis Temporalis performed last night at the Richmond Art GalleryOmnis Temporalis mulls over the transitory nature of life—everything passes—but in a very curious way.

By collaborating with graphic novelist, Seth (aka Gregory Gallant), Haney has set to music George Sprott 1894-1975, a graphic novella that follows the quasi-fictional life of television personality George Sprott.

Photo courtesy Seth

Set in a mid-sized mid-century Canadian city (here fictionalized as “Dominion City”) at a time when the bloom of post-war optimism was beginning to fade, the story maps out the last two weeks of George Sprott’s life, a descent into ignominy parallelling the decline of the city itself.

Photo courtesy Richmond Art Gallery

Photo courtesy Richmond Art Gallery

When I asked Haney how he sourced the music while walking the Camino de Santiago in Spain, he painted a vivid picture of the tiny medieval church along the route where he composed at sunset in the darkening church. What I was really looking for was “How do you conceive of such projects…and execute them?” Or put more crudely, “How did you get off of facebook and make art worthy of a packed hall?”

Photo courtesy Mark Haney

Haney is a thoughtful composer, but even with first-rate singers and musicians, it’s not the music that drives the show. I think about Orpheus’ journey and remember that—in a world so skilled at forgetting—the role of the artist is to make that descent and to come back with something. By drawing together a community and then sustaining the artistic vision over its long gestation period, Haney, Seth (and many others) takes us into our collective memories and then returns us a little richer than had we simply opted to forget.

jellybean-houses

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

Beauty amid darkness

Beauty-amid-darkness

With stories of refugees making subzero journeys across Canada’s shared border with the US, the world’s refugee crisis has just attained a new low. I’m not making hay out of blowhards like Trump and his band of orcs with this concert, but it certainly has made any artistic treatment of refugees timely.

The planned concert coincides with the 60th anniversary of the arrival of the Sopron refugees to Vancouver, but I’m neither Hungarian nor a refugee. My connection is through the hauntingly beautiful tárogató—a national instrument of the Hungarians—which I play.
I was fortunate enough to receive a BC Arts Council grant to commission two new pieces for the tárogató, which I will perform on a concert at St. Philip’s Church (Dunbar) 30 April.

Jeffrey Ryan’s Arbutus for tárogató and piano is full of turbulence, optimism, and a most beautiful melancholy. In Jeffrey’s words, “In Arbutus…the bends and ornaments of traditional tárogató playing are an integral part of both soundworlds, and the piano’s tremolos are reminiscent of the cimbalom. The title, Arbutus, comes from the arbutus tree so common in British Columbia, but not native to Hungary, again reflecting the “newness” of the Soproners’ new home.

Adam Hill’s I Will Stay Here presents a different challenge, at least for me, of working with electronics. Adam layers spoken word recordings Hungarian and Syrian refugees with processed sounds of the tárogató (I previously recorded these for him). Even though this concert endeavours to steer clear of politics, Hill’s piece beautifully presents the very real-world challenge for me as a musician is to retain my humanity and focus instead on individual human journeys while playing against a pre-recorded accompaniment—much like the theme of the concert itself.

Read more about the Tárogató Project.

Canada has Learned to Welcome its Refugees

The SS Komaguta Maru—the ship that brought 354 passengers from India (including many of Sikh backgrounds) to Vancouver harbour only to be turned back by Canadian authorities—is a refugee/immigrant story that’s received a lot of media attention. After the ship was turned away, it returned to India where on arrival many of its Sikh passengers were murdered. This incident has left a sickening scar on Vancouver’s collective memory.

In 1914 (at the time of the Komaguta Maru incident), Canadian immigration rules were unapologetically racist, but they weren’t much better come 1956 when troubles in Hungary spewed 200,000 refugees onto the world stage.

The Canadian government was still holding onto its time-honoured immigration policies, which favoured stock from north-western Europe over all others. But as Soviet tanks crushed the nascent Hungarian revolution, the Canadian people themselves pressured the government to revise its policies about what constitutes a prospective Canadian. And so the characteristically Canadian way of opening our hearts and doors to others in need was birthed on the streets of Budapest.

In the early months of 1957, thousands of Hungarians arrived on over 200 chartered flights[1]. At the University of British Columbia, the entire teaching staff and student body from the University of Sopron’s Department of Forestry arrived en masse[2], thus forming (for a time) North America’s only Hungarian-language forestry classes[3].

2016 marked the 60th anniversary of the Hungarian Revolution, and 2017 marks the anniversary of the arrival of Hungarian refugees to Canada. The Tárogató Project is fundamentally a refugee story.


[1] A Hundred Years of Immigration to Canada 1900 – 1999 (part 2). 1994, http://ccrweb.ca/en/hundred-years-immigration-canada-part-2. Accessed 27 Aug. 2016.

[2] Canada, Citizenship Government of. Forging Our Legacy: Canadian Citizenship and Immigration, 1900–1977. 1 July 2006, http://www.cic.gc.ca/english/resources/publications/legacy/chap-5b.asp. Accessed 13 Aug. 2016.

[3] The Sopron Division of the Faculty of Forestry. UBC, Faculty of Forestry, http://www.forestry.ubc.ca/general-information/ubc-forestry-history/sopron-story/. Accessed 27 Aug. 2016.

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

Refuge

It’s hard to retell someone else’s story and remain authentic. There’s always the spectre of cultural misappropriation lurking in the wings.

Tonight, I saw an adaptation of Verdi’s Macbeth by Third World Bunfight, a South African opera troupe known for its grippingly contemporary interpretations of classic operas. The action is moved from Shakespearean-times Scotland to current day Congo and now it centres on a Congolese warlord and his ambitious wife as they murder their way to the top.

To complete the sense of present day verismo, a lot of multi-media give the sense that this live-action opera is happening online. Even the surtitles operate like a Greek chorus (never quite following Verdi’s original Italian words as surtitles ought to, but instead giving modern-day commentary and basically telling us the truth about what’s happening).

While the 12-member pick-up Vancouver Opera orchestra (sharing the stage with the singers but looking pale and out of place (and sometimes sounding it too), the singers themselves were a powerful presence. And why not? All hail as refugees from Congo’s many recent wars. It’s probably no coincidence that the drama follows the overthrow of the ruling clan of Kivu province where many of the singers are from. How they came to be such dynamite opera singers is a mystery.

That brings me to my challenge of mounting an Hungarian concert about refugees. I’m neither Hungarian, nor a refugee, so how can I find a voice that speaks authentically to the subject matter?

The answer is…give it away.

Before Christmas, I had a series of meetings with just the sort of people who can bring their real-life stories to The Tárogató Project. First, I met Gergö Péter Éles, a cultural emissary sent by the Hungarian government to investigate and report back on the cultural needs of the Vancouver Hungarian community. He’s interested in helping to assemble some of the stories from the Sopron Alumni, which are so needed. I’ve heard him play his disarmingly simple Hungarian shepherd’s pipes and he’s agreed to perform on them in the concert.

I also met two recent arrivals to Canada, both refugees.

Zdravko Cimbaljevic left Montenegro one day on business to Brussels and never returned. He was in fear of his life. His friends told him that all the landmark worked he’d done support LGBT causes would not be lost if he worked from afar. I also discovered that he’s been a force for change here in Vancouver, holding the August role as Grand Marshal for the Vancouver Pride Parade in 2013.

Farooq Al-Sajee is twice a refugee, first from Iraq and then from Syria. He studied music and English literature in Damascus and has a passion for both. He’s enthusiastic about The Tárogató Project and concert. I’m tempted to figure out a way to include him on the oude, but that would go against my Hungarian music only. We’ll see how that plays out.

What’s in a Story?

Last year, when I created Generations as a homage to the many generations that built St. Philip’s Anglican Church in Dunbar (to honour the church’s 90th anniversary), the idea came to me of tying together a narrative of music with a story line.

The first rule of such an approach is to avoid hitting the audience over the head with the story, so I left a lot to their intelligence and their own personal creativity to figure out.

The music selections where lightly connected to the idea of intergenerational connections (A string quartet by “Pappa” Haydn, Songs my Mother Taught Me by Antonin Dvorak, and the feature work, Timepieces by Jeffrey Ryan, which I had commissioned as a memorial to my own father).

This year’s concert part of The Tárogató Project springs from a similar idea—it weaves together three distinct stories:

1) The musical part is a journey through the literature (or some of it) of Hungarian music (from simple shepherd’s songs to grand Romance to newly commissioned works for the tárogató),

2) the next part explores the story of the Hungarian refugees, particularly those from the University of Sopron who came to Vancouver and made a positive impact on the city, UBC, and forestry practices in BC, and

3) the final story deals with the contemporary unfolding drama of today’s refugees and the challenges they face making their new home, Vancouver, home.

The music will weave its own thread leaving the other two stories to drive the narrative (and the music to provide meditation points).

The date is 30 April 2017 (4pm) at St. Philip’s Church (Dunbar).

Samples

Designing end-user documentation and training

One of the major problems I encounter with technical training and documentation is that it so often focuses on product features rather than real-world tasks users need to do their jobs. My approach is to start with learning objectives and an audience profile and then seeing how the technological feature fits in.

The following two samples (one for training and the other for technical documentation) describe the solutions I employed. They are followed by a new course design I create for a new course at BCIT where I teach.

CKD Patient Registration

With CKD Patient Registration (designed for clinical staff to enter important kidney care information into the clinical software system), the first challenge with training was economising the efforts taken to create and maintain the documentation. I always advocate for a single-source solution that organises information into chunks for re-use. While the ultimate solution is to use a topic-based authoring tool such as Madcap Flare, something similar can be obtained using less feature-rich software.

With the samples below, I started with that big picture of single-sourcing and drilled down to a lesson organised into different clinical scenarios for transfering patients. Although the Adobe Captivate elearning isn’t available to share here, I’ve included similar material (KCC Patient Transfers) that, for the first time, links the software features to real-world clinical procedures.

Selected files:

Webtech Driver Center User Guide

Audience profiling is an important part of training and documentation. For this next sample, we already knew that our audience (truck drivers and dispatchers) was highly visual and independent. I recommended building a guide that was down-to-earth, and I tied each procedure to a task in the order that the user might encounter it during a typical work day. It might seem obvious, but this approach replaced a rather stuffy technical writer style of documenting every feature whether or not the user was likely to use it (we stuck to documenting 80% and left the remaining 20% to Technical Support to address should the user need arise).

Selected chapters from the guide (I designed this document in InDesign using some of its responsive design technology to allow readers easy reader whether on a desktop or mobile device):

Course Design Samples

The following samples show a sample course design done for a course at BCIT.