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02/05/18 Successful rehearsal

Great rehearsal! For the first time I had so many people the first time so many people came to the rehearsal - 13 people!!! If all the 16 people had come, I would have flown to heaven with happiness! And what is most pleasant - after my long efforts I have found a high soprano with a perfect pitch. So now I have, 2 Soprano 1, 1 Soprano 2 (+ me as Soprano 2 if I will be able to sing while conducting), 2 Alto 1, 2 Alto 2, 4 basses, 4 tenors. Also, yesterday, during the rehearsal, I truly enjoyed the beautiful singing of my singers. Many already began to sing more confidently, because the material is no longer as new as at the very beginning. It was also nice to hear positive feedback about the fact that it's very interesting to work on a piece, although it is “rather tricky.” Everyone liked most the part where we sing an Icelandic song about a raven, as well as the last part with harmonies built on the principle of tintinabuli. Ilina generally said that the whole piece is exactly like her trip to Iceland - a strong wind in the face, and especially the calm of the Northern Lights. Yes, I had to delete my last “Northern lights twinkling” from the score, because as Ilina said, "There is no any twinkling.  The Northern Lights are just beauty and silence. " There were also other technical moments - somewhere I removed the glissando, somewhere I added the dynamics (cresc. – dim. in the wind gusts), there was also one wrong note in Alto part. As for the steps, we decided that once the tenors in this part do not sing, they can step while others will just sing. In general, we did well, and the work began to sound. I asked everyone to work on their parts separately or with my help before our next joint rehearsal. We also almost solved the tuning problem in places where we may lose the pitch. Using the tuning folk, I will have to give the basses their note. Of course, we need to do more work and without the help of a piano.

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01/05/18

Writing posts on Facebook, making some changes in the rehearsal schedule. Putting out links to music for listening, so that my singers could hear some contemporary singing techniques that we use, as well as to feel the style of English traditional Sea Shanty and Icelandic Folk songs. Here are the links

https://www.youtube.com/watch?v=aqhhlmz6gik

https://www.youtube.com/watch?v=wsl-KHGe4Kk

https://www.youtube.com/watch?v=tq4seuBFxIM

https://www.youtube.com/watch?v=JgWqXwjYfIs

https://www.youtube.com/watch?v=xQFAyyPM2JA

https://www.youtube.com/watch?v=4zsYQs2y7vQ

https://www.youtube.com/watch?v=ViBbRM3gFnI

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29-30/18 Making changes in the 1st part after the 1st rehearsal, finishing composing the piece

I had a pretty productive rehearsal with the guys in the afternoon and also in the evening. During the rehearsal, I changed some points in my music, such as at the very beginning, instead of Tenor solo - now sing all the tenors. This is the song of the sailors and, even more so in words, is sung: "As WE were a fishing”. It was interesting that the tenor unintentionally began to sing together at one point and I realized that this was ill. Also, I changed Solo for ALL in other moments as well. I only have about 12 people in the ensemble, so I have to adjust. During the rehearsal, there were many funny moments when we, for example, roared like bears. I accidentally put in the notes instead of “growl” – “roar like a bear” and when basses were practising their roaring (growling), then absolutely everyone joined. Also, when we learned the steps (steps begin in bar 53 steps) - Antonio began to dance Salsa to this rhythm. It was fun. James almost died with laughter. Here is another change made - first the conductor (i.e. me) starts making steps, and then all members of the ensemble gradually join. Steps reminded me of the movie “Jumanji”. We tried to simulate the rain and the beginning of the storm, but decided to postpone it until the next rehearsal, as it is very difficult to rehearse without many participants. Of course, it would be ideal if there is a big choir. I asked my singers if possible to ask friends who will also be able to join to create a support group for creating a real thunderstorm effect. So, for now, I have 4 basses, 2 tenors (one of them sounds like 2-3 tenors all together), 3 altos and 1 reliable strong soprano. I'm desperately looking for extra sopranos, because this voice is extremely important in my piece. Being a Soprano myself, I could also join, but so far unsure whether I can then fully concentrate on conducting in this case.

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28/05/18 The first rehearsal with singers

Had my first rehearsal. Not everyone could come but I feel so thankful for people who turned up. We managed to go through the first movement only and although we did not have tenors, Altos 1 and Sopranos 2 at all we managed to sing it. To be honest, I was quite stressful as this was my first rehearsal as a conductor and composer for SATB.  Luckily, my singers were not so strict towards changing some stuff during the rehearsal compared to what was already written in the score and even proposed some ideas for improving the score.  One Alto singer told me that she couldn’t really sight read the music and as a result I decided to print out individual parts. Also, even though there is lots of improvisational bits in the 1st movement, I will still extract Audio from my Sibelius file and singers can listen to their parts. I am going to also have separate individual or smaller group rehearsals for singers who want to go through their parts separately. The main thing today – I could hear the thing in real and there are some changes to be made – like changing the chord in bar …., and also changing some traditional score writing to improvisational score writing.

From 4pm onwards – working on my 2nd movement as well as editing my 1st movement after the 1st rehearsal.

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25/04/18 Krummavisur

Krummavisur or English Raven - take 1st two verses and chorus (listen to the phone recording, .... then go to the development of the chorus - the culmination and cut off later switching to the silence of Northern Lights)

https://www.youtube.com/watch?v=JgWqXwjYfIs

The raven sleeps on rocky cliffs

On a cold winter night

Many things will hurt him

Many things will hurt him

 Before the fair day runs out

He pulls his frostbitten nose

From under a big stone

From under a big stone

“Hhh- Hhh- Hhh” - developing and moving to culmination

(He looks over the homes and villages

Before they awaken

He flutters his wings

He flutters his wings)

STEP AND BODY PERCUSSION (listen for some ideas) - https://www.youtube.com/watch?v=Dc1Lf-hf1BY

Choir imitating thunderstorm https://www.youtube.com/watch?v=kU3MkTMNcK4"utube.com/watch?v=kU3MkTMNcK4

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25/04/18 Recent music ideas:

ARKONA - Slavsia, Rus

0:30– guitar theme can be supplemented by rapid passages upward, like squeals of  the wind

https://www.youtube.com/watch?v=BaP1wDvkA6E&list=RDLpiFmZLICgM&index=26"index=26

  Eivør Palsdottir - Faroe Islands My Mother

4:40 - moments of improvisation https://www.youtube.com/watch?v=0k8WD1gx8mg&list=RDLpiFmZLICgM&index=3"index=3 –-

  Fólkvangr

https://www.youtube.com/watch?v=VHxjyBtKxpM&list=RDLpiFmZLICgM&index=13"index=13

- motives for polyphony, rhythm for bass-drum, good development, only faster than in the original

 Eivør - Mín Móðir

https://www.youtube.com/watch?v=zm3wa2LtJQM&index=4&list=RDLpiFmZLICgM"list=RDLpiFmZLICgM – whisper at the beginning

  Sowulo - SOL

https://www.youtube.com/watch?v=MNsKSOnb06w –

4:44 bass talking

  Metsatöll - Oma Laulu Ei Leia Ma Üles

https://www.youtube.com/watch?v=MNV-9oTzGOY

- in the end, the melody on the flute, can match similar soprano melody on the background of a hard bass line

UUTAi Olena - Siberian shaman lady

https://www.youtube.com/watch?v=YeAp1fPt8Eg&list=RDLpiFmZLICgM&index=16"index=16

3:45 – “HHHAK!”

Vikings suite, Trevor Morris

https://www.youtube.com/watch?v=aqhhlmz6gik&list=RDLpiFmZLICgM&index=23"index=23

3:22 – “OOO” and more; interesting soloist singing style (sounds very Icelandic/ Nordic), a line, a break off, then growing to culmination.

Wardruna — Solringen

https://www.youtube.com/watch?v=5rEeEKYbVX8 https://www.youtube.com/watch?v=5rEeEKYbVX8&index=27&list=RDLpiFmZLICgM"list=RDLpiFmZLICgM 

 – men singing harmonies, women the line, then swap – like it!  

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21/04/18 Imitating thunderstorm

Choir imitating thunderstorm

https://www.youtube.com/watch?v=kU3MkTMNcK4"utube.com/watch?v=kU3MkTMNcK4

24/04/18

Other ideas for imitating thunder in the 2nd part:

Icelandic Folk Music - https://play.riffstation.com/chords-tabs/icelandic-folk-music

Eivør Pálsdóttir: Tròdlabùndin

https://play.riffstation.com/chords-tabs/eiv-r-tr-llabundin/LpiFmZLICgM

https://www.youtube.com/watch?v=wsl-KHGe4Kk

A hymn to Odin, Trevor Morris -  https://www.youtube.com/watch?v=M9CLc1wg9Qg

Seaching for interesting appropriate harmonies 

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19/04/18 Searching for a Hull Folk song

My friend Johny, the Hullarian helped me find a traditional song. He sang this song as a child in the ensemble with his friends.

Traditional Sea Shanties and Tales of the Sea from Hull –

In this windy old weather – https://www.youtube.com/watch?v=VMpOJRdL_Gw

http://www.shanty.org.uk/archive_songs/windy-old-weather.html

Windy Old Weather

In Shanties from the Seven Seas, Stan Hugill calls this "The Fishes", and gives nearly 30 verses for his version 4 of Blow the Man Down. When sung to that tune, or the one given here it was popular at topsail halyards, but he also gives an earlier version used at the capstan and often at pumps as well.  This version is apparently Scottish, and the chorus runs:

Blow the wind southerly, southerly, southerly, Blow bonny breeze, blow my lover to me.

Sharp and Whall also give similar versions, and Whall says that sometimes each member of the crew had to take his turn at singing a verse, and if one of them couldn't think of a fish, all hands would chip in with the chorus and thus save the situation.

 20-21/04/18

Working on the beginning of my piece – based on traditional Sea Shanty

***

Iceland folk song Krummavísur (The Raven) that we were singing and dancing with the choir from Iceland Academy of Arts

https://www.youtube.com/watch?v=tq4seuBFxIM

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19/04/18 Basic Concepts of Four-Part Writing

http://legacy.earlham.edu/~tobeyfo/musictheory/Book2/FFH2_CH3/3A_ChordVoicingDoubling.html

This is the principle upon which four-part voicing is based. In brief, keep a greater distance between the bass voice and the upper voices, and keep the upper voices closer together. The lower the bass voices descends, the greater the distance there should be between the bass and the upper voices. 

As a general rule, simply do the following:

•         Be certain that the soprano and alto voices are closer than an octave to each other. Typically, allow no more than a sixth between the two.

•         Do not allow the tenor voice to stray lower than a seventh below the alto, and again, typically, no more than a sixth.

•         The bass voice may range freely. When it is closer to the tenor, then the alto and soprano should not range too far away. Think in this case that the bass represents the second, third or fourth partial. The upper voices are relatively close to the lower voices.

•         When the bass ranges away from the tenor voice — and it is perfectly OK for the bass to be a tenth or even a twelth away — there is a greater ability to expand out the voices, as in the model of the harmonic series.

Doubling voices and more! http://www.musictheoryteacher.com/pb/wp_915ce38c/wp_915ce38c.html

http://spider.georgetowncollege.edu/music/burnette/partwriting.html

Doubling Voices – Diff approach

The other basic principle of four part writing concerns the distribution of three pitches across a four-voice texture. Unless you are introducing the seventh of a chord (most commonly the dominant seventh, occasionally the minor seventh), you will be voicing a triad and will need, logically, double one of the pitches. Here is the basic principle, recognizing that exceptions are often to be found within certain harmonic contexts.

1. Root position triads. Double the root of the chord, which is the same as saying double the bass note.

2. First-inversion triads. Double the soprano, regardless of which voice it represents.

3. Second-inversion triads. Double the bass, which is the same as saying double the fifth of the triad.

4. First-inversion diminished triads. The diminished triad appears most often with the third in the bass, so as to avoid the tritone between the actual root of the chord and the upper fifth. When voiced in this way, double the bass note, which is the same as saying double the third. Thus the tritone is only represented by one voice, and the more stable third is represented by two.

5. Seventh chords. Regardless of inversion, distribute the four notes of the seventh chord, of any type, to the four voices, observing smooth voice leading. Occasionally, especially with the dominant seventh chord, the fifth can be omitted and the root doubled.

The following examples apply whether the chord is in major or minor (thus, imagine these both in C major and in C minor, with the key signature of three flats).

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18/04/18 Session with Ilina

QUESTIONS TO ILINA: 

•      The Northern Lights moment

•      Some other bright moments during the trip

•      What is Iceland for you?

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16/04/18 Preparation for composing the final piece

TASK: more deep analyses of certain musical works oncoming to the composition process, setting myself specific compositional tasks. • Ligeti, Alphabet - some of the composer’s ideas “In my composition – each sound, whether it is actual letter or a nature sound imitation or anything else – has a colour and mood, “in images, visual associations, associations of colours, optical effects and forms ... I am inclined to synesthetic perception.  I associate sounds with colours and shapes.  Like Rimbaud, I feel that all letters have a colour.” - Dynamics help to hear the tonisization – like for example Bb in measure 24 – asserts itself without any preparation leading up to it! And subito p helps it - Modulations - Tonicization by function – use V – I as in jazz harmony - In melodic gesture – with molto expressivo plus fpppppppp, also in the 2nd time melodic gesture can be presented in Retrograded form - Use of counter melody in Alto voice for example while presenting the Retrograded melodic gesture - Functions are not always presented in their root position TASK: Make a plan to know which techniques to use in each movement or maybe get rid of some of the movements or unite some movements.   “The Nonsense Madrgials are imbued with irony but unlike the other madrigals, where textual phrases combine to have semantic meaning, in .The Alphabet. only the sounds of the English language and not the language itself are heard so that the meaning and psychological associations are left purely to the listener.s imagination. “ TASK: Think about what mood every Icelandic statue is causing “The piece begins serenely on two sustained pitches at pppp and builds in chromaticism and tension to the peak at measure 49 marked ffffff followed by a subito pp three measures later. The contrasting moods of the opening compared to the climax are as divergent as humor and horror”. The “Sun”, R. Murray - https://www.youtube.com/watch?v=VIBfdBe369I 5:23 – good nature sound imitating and till 6:38 6:38 – horse sound? Around 7 min – glissando upwards can be used to imitate geyser – listen further, geyzer is gradually fading down with some smaller glissandos 8:18 – its last splashes 8:40 – nice – Soloist singing the melodic gesture and the whole ens. is imitating him in HUM 9:23 – “A new day is promised in the dying light of the sunset” – you can paraphrase to say about “Northern Lights” and end up as to keep listener staring at it Once on a Windy Night - R. Murray Schafer https://www.youtube.com/watch?v=4zsYQs2y7vQ The song of the wind and a strong storm must sound before the last movement about the Northern Lights Ideas while listening to the piece: Tenors and basses imitating the wind whilst S and A singing vowels to imitate “wind singing” Off-stage soprano IDEA of the Wind – he is connecting Iceland and Hull, so may think of some connection words – depicting this friendship! Like Icelandic words and then repeating them in English! 2:17 – Volcanos? 3:45 – interesting growing 4:20 – interesting transition from S & A to only T&B singing in normal voice THE BEGINNING AFTER ILINA’ S Story? THE WIND APPEARS 5:47 – T &B sing smooth line with gliss and portamento but S&A SHUUU 7:24 – Northern lights appeared! 8:55 – Northern Lights blinking 9:47 – another culmination bit – IF I ADD WORDS FROM HULL FOLK SONG ON TRIPLETS? 11:55 – culmination for the wind, S and A sing in unison and T & B “SHHH” 12:33 – continuing this culmination, sounds very Icelandic – NICE HARMONIES! WINDS IS CALMING DOWN – TRANQUILITY MUST COME 12:56 - …  – off-stage soprano coming in for the 2nd time LIKE THIS IDEA!, INTERRUPTING OFF-STAGE SOPRANO then calming down, harmonies like in fairy tale – very much depicting snowy landscape like in Iceland 13: 58 – wider lopes for off-stage soprano 14:23 – everyone SHUUAO and Off stage soprano continues her line. MAY BE THINK OF OTHER SOLOIST RATHER THAN SOPRANO. 15:19 – good for the beginning or for the ending Epitaph for the Moonlight https://www.youtube.com/watch?v=dzUXzu7JYFc – “is a study piece for youth choir. It is an ear-training exercise for the singers must learn to pitch their notes by interval from any note given” - Schafer Listen to the beginning, can mix the idea of Alphabet and this idea 1:18 – S&A imitating falling raindrops 1:38 – whispering (WORD? PHRASE?) Miniwanka - https://www.youtube.com/watch?v=ViBbRM3gFnI – imitating the water – read the program note! 0:54 – read program note! River changing to RAINDROPS – SO Real! 1: 27 - … 1:50 – pattern in LOWER VOICES 3:32 – all voices sing almost in unison the main theme – CAN IT BE ONE OF THE TRADITIONAL ICELANDIC SONGS THAT WE WERE SINGING WITH THE CHOIR? – CAN BE MODERNISED TO BE SANG IN A CANON OR ANYTH ELSE? 3:59 – “Undulating glissandi as great waters”, out from the given note 4:08 – Is it physically possible to achieve this effect – “STORM” – read notes 4:45 – Storm calms down! - Speaking and whispering! 5:00 – try it with singers (throat singing)! - TAKE SOME IDEAS FROM MY SHORT EXERCISES! - I CAN MIX BOTH NOTATED MUSIC AND IMPROVISATION IN MY COMPOSITION! - middle ground - “CAN IT BE ONE OF THE TRADITIONAL ICELANDIC SONGS THAT WE WERE SINGING WITH THE CHOIR?” May be original version first and then singing or arranged in a contemporary music way to end up with rain drops – or off-stage soloist may start singing it and then it develops, grows and ends up with northern lights. Or take the motif and work with it using  Retrograde, Inversion, Retrograded Inversion  etc.

- IPA or International Phonetic Alphabet - Listen ! ICELANDIC CHOIR VISIT – https://soundcloud.com/user-64261483/icelandic-choir-the-poem-about-a-little-flower-song-4https://soundcloud.com/user-64261483/icelandic-choir-little-flower-dont-get-frozen-a-song-by-one-chorister

Must be done! - How to describe the wind in the notes? – my composition under similar name? - Arvo Part tintinabuli principle in one of the movements – Northern Lights? - Explore please ranges of all SATB - Contemporary arranging for voice/ general arranging techniques for SATB - Look for Icelandic harmonies, Scandinavic harmonies and pitch sets - At home – recorded sound of the wind! - ! Ask my singers about their voice ranges - Birds imitating techniques: Messiah? - Questions to Rob

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Willerby fields. 13/03/18, around 8 am, still sleepy morning

Recording folk song - “To the fields”

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Willerby fields. 13/03/18, around 8 am, still sleepy morning

Recording folk song “To the fields” (Assignment iii)

The 13th of March, spring flutters in the air blows in the spring - I compose a song à la folk and cycle to record it in Willerby fields. It is worth noting that despite all the romanticism of the text, during the recording, I literally fell into the mud, my music sheet flew to the other end of the field, and the owner of the horses accused me of chasing them.  And the idea - to record while cycling was completely unsuccessful. I did not know the text of the song by heart, but the sheet always fell somewhere.

On the whole I also recorded my sleepy singing in the field, also next to the flowing stream, trying to respond to the soundscape at this location. I did not want to imitate crows and other birds - I just wanted to sing a song about spring, feeling its breathing in the surrounding nature. Afterwards I still recorded the vocals separately from the sounds of the field and the stream, put them together and imposed 40% of reverberation. Perhaps the latter was not entirely appropriate.As for the musical elements - as a basis I used a simple motif based on Eb pentatonic scale, and to write a second voice I used Retrograde and Inversion.

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How to describe the wind in the notes?

Listening to such music and imagining yourself surrounded by Icelandic landscapes

https://www.youtube.com/watch?v=XnxSLwLFfNY

More similar music to explore -  Sigur Ros, Mum, Explosions in the sky, Ludovico Einaudi

Ecoacoustic music examples  - brilliant ideas for my compositions for voice

R. Murray Schafer

Snowforms https://www.youtube.com/watch?v=GiOhtgR1T0k

- music based on a sketch of snowdrifts and other forms of snow

Sun https://www.youtube.com/watch?v=VIBfdBe369I

- a little bit similar to my idea to translate the word “love” into several languages, only I would still include the characteristic modes and the manner of singing of different peoples

Once on a Windy Night https://www.youtube.com/watch?v=4zsYQs2y7vQ 

- off-stage soprano idea and more for a piece about a wind

Question for the composer - How do performers get the right pitch? How to conduct the piece?

Miniwanka https://www.youtube.com/watch?v=ViBbRM3gFnI

1) Idea of imitating falling raindrops, 2) Choir 1 sing the Maj chord, choir 2 imitates the storm

So, in my composition nr 2 for one soprano I can try to use some ideas from the above examples.

- fast passages imitating the gusts of wind, consonants in bubbles for the gusts of wind, staccato for raindrops etc. , A-O-A, use of glissandos, half-glissandos, portamentos etc.

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26/02/18 Second rehearsal and recording session outcome

Straight after a fruitful rehearsal today, we went to the park to record the piece.

During the rehearsal, the working version of the compositon has acquired the following form. The changes are highlighted in green. 

Some vowels, dynamics and tempo have been changed, namely parts 1 and 3 are played according to the “internal metronome”, and the middle part goes faster. That I do not think it is paradoxical at all, because in music everything all repeats once - the augmented triadic movement in the middle part is very similar to the beginning of Vertigo Suite by  Bernard Herrmann. I never heard this suites before writing my mini-composition. Just being a big fan of increased triads! And the oncoming movement of the voices seemed to correspond to my concept of "Expectation and silence."

As for the idea of taking counter steps and gradually approaching each other during singing - then after listening to the final version, I realized that this did not affect the final result in any way. An option where we started far apart just sounded quieter, and the acoustic effect remained the same - the same echo and reverb. During the final recording, we were standing at a distance of about 3 meters from each other and were gradually approaching the middle of the tunnel. There by the way was a voice recorder.

The “recording temperature” today was 2 C, but the birds sang delightfully, especially towards the end of our session. That is why I chose the last option for the review.

https://soundcloud.com/user-64261483/composing-for-spaces-and-places-portfolio-composition-nr-3

Tunnel at the entrance to Humber Park

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24/02/18 First rehearsal outcome

Today, my first rehearsal for the 3rd portfolio compositon took place. How can I still be grateful to my tenor Simon.He does not even study singing as the first instrument (his first instrument is piano), but his great singing experience in various choirs as well as in the local barbershop group makes itself felt. It was very easy to work with Simon, he could easily perform all of my unusual warm-up exercises, wholetone scale, augmented triads, as well as singing tritones. In addition, he easily caught the frequency of the class in which we sang, so that it tingled in my ears. But this is a separate conversation. During the rehearsals, I made quite a few changes to my composition, also using the tips of my tenor. For example, he suggested singing a German vowel "Ü" in one place, and also the letter "U", which in his performance sounded quite differently from what I had suggested. I think this is a special one, which may be used in barbershop singing. This "U" reminds me of singing in a bottle.

So my composition looked before the rehearsal

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20/02/18 Icelandic choir visit

Last Tuesday Hull University Music department had a pleasure to meet Sigurður Halldórsson and his Chamber Choir from the Icelandic Academy of the Arts. On Monday, 19th of February Mr Halldórsson gave a presentation (https://universityofhull.box.com/s/ayxucu8swvgir9rq1atd96bul8sxiiky). In the evening, a rehearsal was held together with the University Chapel Choir. On Tuesday, February the 20th, a rehearsal, a masterclass and a concert took place at Middleton Hall. At the end of the event, two choruses jointly performed "Which was the son of" by Arvo Pärt, rehearsed the day before. In the master class we learned Icelandic folk songs. Some of them we sang while dancing in a round dance. According to the conductor, these dances and songs are still loved and performed by the inhabitants of Iceland. All these traditions reminded me of our Estonian songs and dances, which are still performed especially at the Song and Dance festival, which is held every four years. Masterclass pushed me to the idea of using movements during singing - whether it is a round dance or something else. Maybe it is worth developing this idea.

Next will be some audios from the concert on Tuesday. https://soundcloud.com/user-64261483/chamber-choir-from-iceland-academy-of-arts-song-1

https://soundcloud.com/user-64261483/icelandic-choir-noble-prize-winner-composer-90-years-anniversary

https://soundcloud.com/user-64261483/icelandic-choir-poem-by-the-famous-poet-sang-for-a-child-to-stop-crying

https://soundcloud.com/user-64261483/icelandic-choir-the-poem-about-a-little-flower-song-4

https://soundcloud.com/user-64261483/icelandic-choir-little-flower-dont-get-frozen-a-song-by-one-chorister

https://soundcloud.com/user-64261483/icelandic-choir-lullaby-song-composer-passed-away-last-yearsong-5

https://soundcloud.com/user-64261483/young-woman-who-is-a-good-catch-fralala-in-madrigals-tralala

After the concert there was an opportunity to get acquainted with the participants of the choir closer. I exchanged contacts with the girl composer, whose song we were lucky to hear at the concert. It was a song about a small flower composed on her father's poem. It was generally interesting to learn that all composers who study at this academy should sing in the choir. I told Katrin (that's the composer-chorister's name) about my idea to write a piece with the use of Icelandic language and techniques of contemporary classical improvisation. She was surprised when I told her that at the rehearsals of our choir we never do vocal improvisation. In a word, we learned a lot from the guys. Then we went together to watch netball. There was something to surprise the Islanders - they had never heard of such a game. As however, I am.

NOTES for myself: ⦁ Listen to Inna Zhelannaya, Katya Chilly, Cosmos, Instrumenti, Pentatonix, Sigur Ross, Bjork, also look for other European a capella ensemblers and others. ⦁ If Iceland could sing. Sigur Ross https://www.youtube.com/watch?v=ngE9i-V3rio