Baetz Editions

It’s, again, been a while since I’ve posted something.  Many apologies.  Teaching really takes much of my time.  It was worth the wait!  I’m here to post a rather exciting improvisation from the CMAA and Duquesne University’s Charles Tournemire Symposium.  The Symposium focused on improvisation and I was given the opportunity to play for the Monday daily Mass for 15 MINTUES.  Epic.  Especially since the chapel organ leaves something to be desired.  But that is the challenge of the musician, to make the instrument sing as best as it can.  Enjoy this rather lengthy improvisation.

Even though this is a week old, I wanted to share as I was very happy how it turned out.  This improvisation was based on the homily given at the 10 AM Mass for the Feast of the Transfiguration.  Being that this improv happened on a Monday, the postlude is rather reserved.  There’s usually quite a line for confessions at this time.  The reading for the day can be found here:

http://usccb.org/bible/readings/080612.cfm

And here is the improvisation:

This past weekend I just happened to improvise at the Offertory for both Masses (Saturday and Sunday).  That usually doesn’t happen on Sunday for the choir would be singing the proper.  But it’s summer and they’re taking a break, or I’m taking a break, or something like that.  So here are two improvisations, back to back in one video.  I think it’s interesting to watch them back to back seeing how the same theme is treated differently.

I’m back!  After the lengthy vacation for this summer, I’ve got a nice short improvisation today.  What I love in particular about some of the chants is the inclusion of repeated notes.  Like all music, this is a device found in many chants, including today’s Alleluia.  Thought it would make a nice short, exciting postlude.  Enjoy!

The last post is what I’ll call a VWF: that’s Vaughan Williams FAIL.  Not only did I get the tune wrong, I spelled Vaughan without the second “a”.  In case you’re wondering, it was “Lasst Uns Erfreuen” and not “Sine Nomine.”  BUT this week’s improv is actually on “Sine Nomine” for St. John the Baptist.

At the time of the improvisation, I was in Alaska visiting my family.  Usually when I go there my mother and I play Mass together and this trip was no exception.  You might say, “but I’ve heard you do this before!”  And yes, that’s true.  My simple three-variation form is one of the things I do often.  But here in Alaska, they HAVE NOT heard it.  In fact, the music at the Cathedral is, honestly, less than stellar.  So I thought I would show off, as best I could with little practice.  Hope you enjoy it!

(And yes, I’m wearing shorts.  I didn’t bring any dress clothes and it was 87 degrees.  It does get pretty toasty in Fairbanks, Alaska.  Also really cold.  Like -51!)

Happy Pentecost!  This week I did a trio on the tune “Sine Nomine.”  There are few hymn writers whose tunes never need more and Vaughn Williams is one of them.  The trio is certainly one of the more difficult forms to improvise in, but that’s what challenges are for.  Didn’t the immortal Bach himself write his Trio sonatas so his son could have complete control over all his limbs?

As mentioned before, I have decided to retitle these pages with just the simple “Improvisation.”  This weeks entry is an interesting one that requires a little explanation.  Usually, these this are straight forward: there’s a tune and I use it.  This week, I decided to use the homily as my jumping point.  Fr. Vincent gave a wonderful talk and I used specifically his idea that we are saints and sinners and represented that with two motifs: a descending half step for sinners (like the sighing motif of Bach) and an augmented 4th chord for saints.  To use the two together, one based in half steps and the other in whole, was a good challenge.  This being the Offertory, it was kept on the quiet side, but it stands pretty well.  Wish you could have head the homily!