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Author Profile: Dan Moylan

Composer: Dan Moylan
Music: The Clueless Fifer

Dan has been diagnosed with a serious addiction to fife and drum. On his first encounter in 1948, a fellow clarinetist pulled a fife from his sleeve, and let him play a scale (low octave, of course) — a new world, endless possibilities! he bought one of his own on his next visit home from college, along with a 1928 edition of the American Veteran Fifer.
 
He learned the paradiddle from a fellow co-op student that same year and was extremely envious of folk who could drum.
 
Despite the interest, Dan never found a fife and drum corps to join until 1973, when he joined the Sudbury Ancients with two of his sons, under pressure from his wife (Oh, Br’er Fox, please don’t throw me into the briar patch!) The ensuing years were busy with Bicentennial reenactments, culminating in the trip to Yorktown in 1981.
 
In 1977, he undertook to learn the drum, to encourage his youngest son, who was just then taking up, but not practicing, Dan practiced one to two hours every day, starting at 0630, much to the delight of his family. He concentrated on the basic rudiments, and learned from Strube, whose up/down notation he still employs (with modifications).
 
When Patrick Arnow, an accomplished Connecticut drummer, joined the corps in 1989, Dan returned to the fife, but later cycled back to the snare, then to the barrel, and has finally returned in his declining years to the fife.
 
He is an ardent supporter of The Company, (introduced to it by Sudbury Faire announcer Russ Kirby) and has served as Executive Officer, and currently as Trustee, and editor of the Ancient Times — pro tem.
 
Every now and again, he tries his hand at writing a tune. As to the title of this one, as most of our drummers would say, “Aren’t they all?”
 
I would also like to point out that Dan is partially responsible for making space in the Ancient Times for the product of this contest. Thanks Dan for the support!
Dan Moylan
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Author Profile: Katherine Bolcar

Composer: Katherine Bolcar
Music: The Insult
 
Katherine Bolcar
 
Kate’s music received praise for being most catchy by one of the voters in the Baconworks Tune-smithing Contest. Here is more about Kate.

Kate received her Bachelor of Music (2003) and Master of Arts (2005) in Vocal Performance from Montclair State University. Kate is currently the choir director at Dickinson High School in Jersey City where her duties include teaching voice class, choir, beginning keyboard and marching band. In her studies, Kate has experienced many forms of singing , including opera, musical theater, choir, folk and rock. She has performed with such groups as The NJ Concert Opera, The NJ Symphony Orchestra, The Montclair State University Singers and Chorale, The MSU Symphonic Band and Schola Cantorum on Hudson. Kate can also be heard singing with the professional a cappella quartet, “Wassail” and has served as a vocal coach for the local rock band Temporary Ways in conjunction with DMR Media. Miss Bolcar has also performed and directed musical theater shows throughout NJ. Kate has sung such roles as Josephine (Gilbert and Sullivan’s “H.M.S Pinafore”), Savitri (Holst’s “Savitri”), The Foreign Woman (Menotti’s “The Consul”) and Mrs. Fiorentino (Weill’s “Street Scene”). She has directed children’s productions of “Les Miserables”, “Grease”, “High School Musical”, “The Sound of Music”, “Phantom of the Opera” and “Pippy Longstocking”. Kate has taught private voice all over NY and NJ and conducts the choirs at Stokes Forest Music Camp. However, her experiences are not limited to vocal music. Kate also plays and teaches a number of instruments. Kate has worked with Hackensack High School Marching Band as a percussion and visual tech as well as the Colonial Musketeers Jr. Ancient Fife and Drum Corps. from Hackettstown, NJ, where she can be seen working with the advanced fife line and arranging their music. Kate has provided brass instruction for The Sunrisers Drum and Bugle Corps. of Rockland County, NY and most recently, Fusion, of Minehill, NJ. Kate is a member of The National Association of Teachers of Singing (NATS), Sigma Alpha Iota (International Music Fraternity for Women), The National Association for Music Education (MENC) and attends workshops and seminars at the annual NJMEA Convention.

Kate can be found through her web site katherinebolcar.com, and if you look hard enough, you might find her on facebook.

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Author Profile: Christopher Lussier

Composer: Christopher Lussier
Music: Field Castle
 
Christopher Lussier
 
Christopher was the 1st runner-up in the Baconworks Tune-smithing Contest. Here is a bit more about Chris.

I have been a musician, songwriter, or private teacher for nearly all my life. My main instruments of choice include the Boehm and Simple-System flutes, penny whistles, saxophones, piano, and, of course, the fife. I currently fife with the Ancient Mariners and the Kentish Guards Fife and Drum Corps, and along with Chris Myers, I have had the pleasure of introducing several of my original tunes as fife solos for the KG’s. I am a service veteran of the U.S. Army, where I learned to play the fife with the Old Guard Fife and Drum Corps from Fort Myer, VA. I attended the Berklee College of Music in Boston, Ma. I have published my own music collection, 25 (or so) Tunes to Make Your Face Fall Off, which is still available through the Company of Fifers and Drummers Store. As my musical journey continues, I still compose music for fife and drum, Celtic instruments and modern ensemble settings. My writing style is more melodic, as a rule. I like my harmonies and counterpoints to follow a natural, unforced path of progression towards their resolution.

I currently pay the bills and live indoors by working in the theater business, building stage props for Trinity Repertory Company, Providence, RI., and by sharing my life with my sweetheart and drumming companion, Heidi.

I’m not too computer-savvy, and I don’t have a “My Space” page, (yet!) but you can always say hello to me at feadog41@aol.com. (Btw, “feadog” is my favorite penny whistle, and 41 was my age when I first logged on to the Internet!)

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Author Profile: Chris Myers

Composer: Chris Myers, from Portsmouth, RI
Music: Mustah Foot
 
Chris Myers
 
I play the fife, guitar, saxophone, and am in the embryonic stages of playing Irish flute and tin whistle. I am also a singer/songwriter, and have a fairly decent-sized repertoire of original music.

I’ve been a life-long musician, whose creative spurts have come in bursts, recently only slightly hampered by the demands of real life: marriage, home ownership, kids, pets, career, etc., but recently the ‘real life’ job has been viewed as what I do during the day to support my music habit. I’ve been involved in the fife and drum world for about 5 years, having come from a background of high school marching band, and having never picked up a fife before then. I took to the fife pretty quickly, and soon became Fife Sergeant with my corps, the Kentish Guards, having also been mostly responsible for putting together our summer stand pieces, and medleys. In addition to playing and composing, I’ve also taken to adding harmonies to some traditional, and traditional-style fife tunes, some of which have been incorporated into the KG’s standard repertoire.

I compose under the Zen-like theory that there really is only one tune. We just play different parts of it at different times.

Chris did not provide me with a web site. However a quick google search finds him busy on pages like this.

In addition to Chris’s bio, he also included a kind statement about the contest.

I think what Greg is doing here is a spectacular example of the spirit of traditional music, and regardless of the outcome of this little experiment, I think the world is a better place for having given folks the opportunity to add just a little more beauty to it.

Thank you, Greg.

Thank you, Chris.

author profile

Author Profile: Donald Heminitz

I would like to start the author profiles for all those that submitted tunes to the Baconworks Tune-smithing Contest with the winner.

Donald Heminitz plays the fife and the flute. He contributed two tunes: Misty Morning, which was the winner, and The Royal Troubadours.
 
Donald Heminitz
 

Currently a junior music major at Millersville University of Pennsylvania with concentration on the flute, Donald has been both a re-enactor and fifer since he was 11 years old. He was awarded the “Most Improved Fifer” Award in April 2004 at the Don Hubbard Field Music School and in June 2006 was given the title “Master Fifer” by George Carroll under the ranking system of the International Association of Field Musicians. He currently plays with the Mifflin Guard Fife and Drum Corps, the Colonial Musketeers Senior Ancient Fife and Drum Corps, and the 3rd New Jersey Field Music, which on July 4, 2006 performed live at Times Square in New York City on ABC’s Good Morning America. He has also been the fife instructor for the Boy Scouts of America Troop 53 Fife and Drum Corps of Maytown, PA since October 2005.

His web site is http://ancientfifeanddrum.com

Congratulations again Donald.

announce

Contest: Results

Winner!

Before I announce the winners of the Baconworks Tune-smithing Contest I wanted to say a few things.

First, the amount of participation in both submissions and voting was outstanding. Music was submitted by both male and female, by fifers, drummers and guitarists, by the young and the … experienced, from Massachusetts to Michigan. In some cases these tunes were the authors first attempts at writing. Everything that was submitted was of high quality and, consequently, I heard many complaints during the voting process that people had a very difficult time picking just one that they liked most. The challenge for the voters was considerable and the final results reflected a very balanced field of submissions. In fact, just about every entry received votes. Having said that, there were some clear front runners. So, without further adieu I would like to announce the three submissions with the most popular votes.

2nd Runner-Up:
Miss Potter’s Jigg by Jim Williams

1st Runner-Up:
Field Castle by Christopher Lussier

And the Winner of the 2008 Baconworks Tune-smithing Contest is:
Misty Morning by Donald Heminitz

Congratulations to Donald, Christopher and Jim! Also, congratulations to all the authors that took the time to submit their wonderful music.

After working with the editors of the Ancient Times, I have made arrangements to have all three pieces published in the Spring edition of the quarterly periodical.

In addition, The Company of Fifers and Drummers is interested in publishing a book of all twenty submissions. I will, therefore, be contacting all the authors regarding the details and requesting their permission for publication.

Over the course of the next few days I will be posting the biographies of all the authors. Until then, here is the complete list of tunes with the author names listed in no particular order:

  • Misty Morning: Donald Heminitz
  • The Insult: Katherine Bolcar
  • Royal Troubadours: Donald Heminitz
  • The Battle of Flamborough Bay: Jim Williams
  • The Festering Fish: Eric Chomka
  • Mustah Foot: Chris Myers
  • Kenilworth Castle: Christopher Szpara
  • Bernard’s Barn: Eric Chomka
  • Devitt’s Reel: Christopher Szpara
  • The Clueless Fifer: Dan Moylan
  • Hot Peppers at Midnight: Pat Arnow, Al Renzi, Mary Punch
  • Two Pints Past Dizzy: Emit Karakuls
  • Miss Potter’s Jigg: Jim Williams
  • Taking the Stroll: Dominick Cuccia
  • Night Creatures: John Ciaglia
  • Touch Your Toes: Casey Swanson
  • Field Castle: Christopher Lussier
  • Feast of the Geese Eaters: John Ciaglia
  • On the Streets of New Haven: John Ciaglia
  • The St. Albans Raid: Josiah Raiche

Lastly, I would like to share with you a snippet of an email that I received from one voter, which demonstrates the true thought that many voters devoted to the process. Having a hard time picking one entry, this voter felt compelled to submit her fun list of runner-ups:

The Insult (most catchy)
Festering Fish (most fun to play for fifers)
Devitt’s Reel (most cheerful)
Two Pints Past Dizzy (truly dizzying)
Kenilworth Castle (short and delightful)

So, thank you all, both authors and voters, for contributing and making this successful. And, once again, congratulations to the winners!

new music

Loudness Wars

While my contest has been plugging away, I’ve been doing a bit of writing and recording myself. A couple months back I posted a new tune called On the Mend. More recently, I wrote another tune to go with it called Blaze in the Barn. Before Christmas I spent some time recording the set and ultimately learning quite a lot about mixing and how sound works in a mix, or in many cases, doesn’t work.
 
Loudness Wars
 
In my experimentation with this new set of tunes, I discovered an interesting phenomenon. What I found was that anytime I added compression to an instrument, it immediately sounded better. It actually took some time before I started questioning why this might be true. Without going into lots of technical details, the net effect of compression is that it essentially allows you to make quieter sounds of a track louder but without making the louder tones louder. This gives the listener the sense that the track is more solid and it is perceived as becoming louder. And, apparently, louder is better. Also, as I soon found out, I was not really the first person to stumble on this phenomenon.

Back in the days of juke boxes, you see, record executives discovered that the records that were most frequently played were the ones that were recorded the loudest. Humans, for some reason, perceive the louder records as being better and, in turn, are more likely to stick another dime in the juke box, baby. Thus, record companies started to look for ways to make their recordings louder than the competitions recordings. What resulted was a loudness war that is still raging today and is killing the quality of recorded music.

Well, if we perceive louder recordings to be better, then why is it killing the quality of recorded music you ask? The answer has to do with dynamic range. By compressing music, which allows studio engineers to make recordings louder, they are also squashing the dynamic range of the recording. Dynamic range, in sound, is the distance between the softest tones and the loudest tones and it is used in music to impart emotion. So reducing dynamic range essentially reduces the emotion.

One everyday example of dynamic range that we have come to depend on is that of the human voice. When we speak our voices naturally fluctuate in volume as a means of emphasizing our emotions. If we were to take out all the dynamic range in our voice we would sound very monotonous. Now, imagine taking that monotonous voice and making it loud all the time. The effect would be that all our conversations would consist entirely of yelling. While yelling certainly gets peoples attention, it also gets tiring very fast. And this leads me back to my recording discovery.

What I found was that when I added compression and, in turn, loudened my recording I thought, ‘Hot spit! That sounds great!!!’ But the more I listened to it, the more it started grating on my nerves, sort of like yelling. I had inadvertently stumbled into the loudness war, which is being fought between record companies that want their music to catch your attention as you flip by on your new satellite radio and the sound engineers of the world that realize that the greatest recordings are not devoid of dynamic range but instead, embrace it.

Take a look at the following example:
 
Compression
 
What you are looking at is a mastered stereo recording of an ABBA song from 1981 and then remastered in 2005. The first set of sound waves show a track with plenty of dynamic range while the second set of waves show much more sound and, consequently, represent a louder track, but one with much less dynamic range.

With all this in mind, I removed much of the compression I was using on my new set and found that I enjoy the track much more now. Anyhow, here is a mix of what I’ve been working on. I don’t know if it is a final mix because there are other issues I’m trying to address, but those issues are probably the subject of another post.

general

What’s in a Name?

Flying Pig
 
As the votes continue rolling in for the tune writing contest, something has been on my mind. Before I get to my question, let me remind you that all votes must be in by 5pm EST, Friday, January 11th. So, if you haven’t voted yet, now is your chance.

With that out of the way, here is what I’ve been wondering: What impact does a name or a title have on your decision making process?

Let me lead in with an example. My boss recently told me that she is planning on running the Flying Pig Marathon. Why this particular marathon? Because of the name. She is willing to run 26 miles and 385 yards, in this particular marathon, because of the name. Now, I don’t know about you but I wouldn’t even drive my car 26 miles because of the name, but I digress.

Here is what I want to know. Are you more likely to learn a tune because of the name? We could even run a little side contest…ooh, good idea, let’s run a side contest. This contest, actually it is more of a survey, is much simpler than the first. Of the twenty tunes submitted to the contest, is there one or two where the names are really compelling? Which name do you like the most and why? Instead of emailing me, simply leave a comment to this post with your favorite names so everyone can see.

My votes goes to The Festering Fish, because of the disgusting alliteration, and The Feast of the Geese Eaters because of the intrigue and the imagery that it conjures up.

new music

Contest: Let the Voting Begin

Below are the twenty submissions that were entered into the Baconworks Tune-smithing Contest!

It is time to vote on a winner and I need your participation!
 
Vote Today!
 
Here is how the voting works:

  1. First, anyone can vote.
  2. You are allowed one vote.
  3. Voting takes place via email starting today, Monday, January 7th, and runs through Friday, January 11th.
  4. All votes must be received by 5pm (EST) on Friday, January 11th.
  5. All votes must be sent to contest@baconworks.com.

Next to the name of each tune below is a link to the audio that was submitted by the author. In addition, there is a link to the notation for the music submitted.

I urge you to take a few minutes, listen to the submissions and cast your vote today!