After a month of rest following our outstanding Summer Concert, we are now preparing to work towards our Winter Concert.
We have a lot to live up to and a short term to achieve it,
Time after time, we have managed to up our game, and this time will be no different. I know we can do it.
Time After Time is a song written by Cyndi Lauper and Rob Hyman, who also provided backing vocals.
The inspiration for the song came from the fact that both songwriters were going through similar challenges in their respective romantic relationships; Rob Hyman was coming out of a relationship, and Cyndi Lauper was having difficulties with her boyfriend/manager, David Wolff.
One of the early lines Rob wrote was "suitcase of memories," which, according to Cyndi, "struck her," claiming it was a "wonderful line. " Other lines came from Cyndi's life experiences.
The song's title was borrowed from a TV Guide listing for the 1979 movie Time After Time, which Cyndi had intended to use only as a temporary placeholder during the writing process. Although she later tried to change the song's name, she said that at some point, Time After Time had become so fundamental to the song that it would fall apart with a different title.
No doubt there will be a few trials on the way.
All My Trials is a folk song popular during the late 1950s and 1960s social protest movements.
In its first commercial release on the 1956 album Offbeat Folksongs, Gibson did not mention the song's history.
The following two artists to release it, Cynthia Gooding (as All My Trials in 1957) and Billy Faier (as Bahaman Lullaby in 1959), wrote in their album liner notes that they each learned the song from Erik Darling. Gooding explained it was "supposed to be a white spiritual that went to the British West Indies and returned with the lovely rhythm of the Islands," presumably as Darling told her.
Faier wrote that he heard Darling sing the song "four or five times in spring 1954," when Darling would have been performing with his folk group The Tarriers. However, bibliographic folk song indexes, such as the Traditional Ballad Index, do not mention the Bahamas as an origin, listing it as unknown.
The Joan Baez Songbook (published in 1964; Baez released the song All My Trials in 1960) suggests it began as a pre–Civil War era American Southern gospel song. It was introduced to the Bahamas, where it became a lullaby. It was forgotten in the US until it was brought back from the Bahamas and popularised during the roots revival.
We are also singing The Salley Gardens and Fields of Gold, and next week’s blog will discuss these songs in more detail.
The Steeple-fingered ladies have returned and will meet with everyone on September 3rd. Hopefully, we will all be in good voice, as it has been a long, hot summer, and we have required plenty of cold, refreshing beverages!
Updated: Aug 3
Thanks, Tyler.
It never ceases to amaze me how we can go from a group of people who meet and enjoy singing together each week, culminating in the most glorious concert where Eamonn has the capacity to encourage, cajole and threaten us to another level!
God Only Nows You must feel that energy and buzz from our performance last night. I certainly do!
The audience's response to our performance was overwhelmingly positive, serving as a testament to our hard work and dedication. We should all be proud of what we've achieved.
What the World Needs Now
Those who had never been before and were uncertain about what to expect were amazed, and there was great praise for the continuous improvement of the stalwarts who came each time.
Our trust in Eamonn was well-placed, and his pride in our performance was unmistakable. He has brought out the best and more in each of us. Did you know you had it in you? Thank you all for your support, whether it's through viewing our pictures, audio recordings, or videos, and for being such a great choir. Your appreciation is deeply valued.
Have a great summer, and let's eagerly anticipate our next gathering on 03 September, with the 28 November Winter Concert in mind. We can't wait to see what we'll achieve next!
We just wanted to let you know that the Steeple Fingered Ladies are signing off for the summer. Take care, and have a great summer!
Ensure you have the space to hold your folder open at waist height, slightly away from your body and that you can see Eamonn.
Remember, Eamonn can see and hear you from his position at his podium in front of you.
You must watch him as much as possible.
It is up to us to put in that extra effort to be so familiar with the music we have the confidence to watch and obey!
This vigilance will make or break the concert.
Listen to each other – we need to harmonise and blend.
Individual commitment to a group effort – that’s what makes the choir work.
Performance is a part of the concert, not just the singing. Look the part in your all-black outfits with a corsage on your left side (to be provided on the day)
Smile and look as if you are enjoying yourselves. Are you a pleasure to watch?
At the end of every song, DO NOT turn the page and look for the next song.
Keep perfectly still until the last note of the piano is played. Eamonn will indicate when you can move.
You WILL be guaranteed a famous ‘Eamonn Glare’ if you don’t stay still as it breaks the moment and the beauty of the song we have just sung.
We went through all of Act Two. How did we do?
Last Hints and Tips for this term:
Make Your Own Kind of Music – Basses keep active and keep up with Eamonn. Turn the pages without looking down so you can watch Eamonn.
Father and daughter in harmony
Mad World – the beginnings of ‘faces’ and ‘places’ are long as in ‘faaa -ces’ and ‘plaaa-ces’. Keep a sense of elevation on these notes; otherwise, it loses the mystery if rushed.
The ‘nmm, nms’ and the second ‘nm’ are slightly shorter.
‘Hello teacher, tell me…. ‘should be explosively loud before coming into the long, quieter ‘Look right through me.’
Keep an interesting glimmer in your eyes.
Have You Ever Seen the Rain? There are long instrumental parts, so look up and engage with the audience, but be prepared for when it is time to sing again. Do not breathe before ‘I know,’ and keep it warm-sounding and not loud.
The Rose–Altos join with your harmony and make yourselves heard over Sops.
From Now On – absolute stillness at the beginning of this song to set the scene. At the end, do not swell the last ‘again’. Keep it drifting off to the end.
What’s Up – should be intense when quiet. It's a bit of a rocky start, especially on page 2 with the ..’ was made up of a brotherhood of man’ – watch out for this timing. Throw away the ‘up’ and emphasise the ‘of’
Crossing the Bar must contrast warmth and intensity with a full choral sound towards the end.
Next Tuesday is our last rehearsal before the concert day. Be prepared to run through the concert and practise walking on and off the stage. Patience is required, so bring that with you, too.
Wednesday is The Big Day
16:00 - arrival, if possible, ready dressed
16:30 – getting into positions along with the ringers
17:00 – a complete run-through of the concert
19:00 – refreshments in the small dining room
19:45 – lined up, ready to enter the concert hall
20:00 – the start of the concert.
It will be fabulous, darling!
