Sunday November 17 600 Pm Bach Society Houston the Art of the Fugue
Sunday
Mar 27 2022
A new fugue state
I am currently involved in a virtually interesting, unique project. Picture it:
1990s: Pianist Dale Tsang and I are classmates at Rice.
2020: Dale's fiancé, Bay Expanse-based composer David Garner, has written seven fugues for organ. Dale remembers me and asks me to premiere them!
2020: I marvel at the high quality of these pieces and thoroughly enjoy learning them. Maestro Garner has written for the fine art and not for the market. These pieces are not easy! Only they are masterful and a please to play. I hope they will make it. At that place is a soothing one "on" D (Garner prefers "on" to "in"), a pompous one on East-flat, and rambunctious ones on F-precipitous, A, C, One thousand, and B-flat.
The premiere is Fri, April 22, 2022, 7:xxx pm at the Congregational Church in Berkeley, Calif.
Meanwhile, a recording is in mind. Go here and participate!
Thursday
December 30 2021
Christmas 2021
I enjoyed another Christmas Eve of church hopping this year. 4 services in three churches, all capped by playing a ditty or two for the terminal 1. Covid protocols notwithstanding, information technology was a nice evening. I attended four services in 3 neo-Gothic edifices, one of which was my commencement visit. Run across hither and here for previous experiences.
1 service was led by an adequate Aeolian-Skinner existence played more than adequately. One was led past a horribly inadequate Reuter being played more than adequately. And the last two on the big Schlicker were top-notch, which is why I go in the outset identify. (Notice that we organists mention the organ and the playing long earlier mentioning the sermon, if at all.)
I continue to mellow in my former age. While I miss the days of liturgical and musical propriety and am still afraid at some things I run across going on, I notwithstanding made information technology through all services without leaving in disgust this time. While I would usually be horrified by commencement worship at such a holy time with, "Adept evening! [*pause*] Oh, we can do better than that! Skillful EVENING!!" I can even so sit down there quietly without participating in such a garden party orgy in front of the manger. And when I discovered much to my horror that the boyfriend I saw in the narthex in the brilliant blood-red wrapping-paper-patterned arrange and tie was the pastor and that he had no intention of covering any of that upward with vestments for the upcoming service, I nevertheless stayed on and rode the boat with everyone else. I shouldn't ignore the fact that possibly some folks there would have been every bit horrified to learn that I bear witness upward to some services to take in the architecture and hear the organ, not necessarily to gloat the Nascency. On the other hand, based on the garden-political party element throughout one service, I'm not sure anyone else showed up with perfectly upright worshipful intentions, either. It is what it is.
I am letting go of some liturgical snobbery. Facebook lights up each year with my colleagues grousing about how society lets Christmas in at Halloween and then lets it dice on December 26, while we liturgical addicts are just getting started on our twelve days on the 25th. Merely that IS the difference between society and the church. So let's let them exist different. Permit church have its other-worldly schedule, and let society have its decorations and non-sequitur songs such every bit "My favorite things" and Leonard Cohen's "Hallelujah." Church must be unlike -- that'due south it'south task. I suppose I'll still resist Christmas carols showing upwardly during Appearance, simply in the kinds of churches I would regularly want to frequent, I don't have to worry nearly that.
So this is a love letter of the alphabet to the Church and to the Globe: you lot two are notwithstanding different, no matter how hard some folks endeavor to fold you together into the aforementioned loaf. You are both man-made, and so I will no longer bewail the tensions between you. I at present celebrate them, fifty-fifty while I promise with a niggling trepidation that you will e'er remain separate. If Church stops resembling something other than the World, I'll be washed. But past the time that saturation truly occurs, I'll be likewise old to get out of the firm, anyway. Merry Christmas to all. To both.
Friday
Aug 13 2021
Sobering upwards
I miss organist conventions.
Yr after year, at just the fourth dimension when I remember I am all alone in the fight against mediocrity, the hierarchy of pedagogy, and my own regrets, I attend an organist convention and am nigh instantly encouraged by kindred spirits in kindred situations (or worse). Truly, I am blest.
Covid has destroyed our ability to get together as large groups for quite some hereafter. Just recently I was able to have what I call a mini-convention, with another professor several states away. He and I acknowledged our current plights and briefly discussed what nosotros practice as the only organ fish in our respective ponds. Hither are some of the conclusions we drew:
-- The so-called "organist shortage" is real. I have blogged well-nigh it before, but I don't trust anyone'south cess of information technology anymore, including my own. It is a dynamic situation, but it is clearly aggravated by 1) churches that can't or won't compensate appropriately; 2) organists who won't drive and so far out of boondocks for the pay just mentioned.
-- Given the above, a given organ is no longer used and is eventually removed, rarely to greener pastures.
-- There is certainly no shortage of organ DMAs continuing to come out of the larger schools. Merely I have heard besides many of them speak of "taking a church job until ...". For some reason, a church job for an organist became in many minds just a side chore until the recital career or teaching post takes off. This is tragic in the mindset of many organists. To them, the real shortage is in organ teaching jobs.
-- Church is in trouble. Gotta acknowledge that. Society is less and less church-bound for spiritual reasons, and this is worsened by the fact that ecclesiastical architecture seems to be fading as a source of art and inspiration. Even among architects today, I am discovering that church compages is not even of historical interest anymore. "Space for an organ" to today's builder is a broom closet for speakers, and so non fifty-fifty enough of those. Tragedy of the highest order.
-- The Church building's danger of demise comes with ramifications for church organists and organ teachers. We're seeing it everywhere, and Covid has just worsened information technology. Merely we have to say it aloud: "If churches continue to close, there will be no more jobs for church organists and organ teachers." How'south THAT for a cold shower to sober upward with?
-- However, the organ is not in trouble. It is yet a fascinating machine and source of inspiration to thousands of immature folks everywhere. We just tin no longer count on church building to introduce them to it. So THAT is where we organ professors must now turn our attention. I am truly blessed, again, to be able to go out and preach that gospel often. We have a rich field of inventiveness in irresolute how we attract others to learn the instrument. We need help with information technology, but we also have to grapple caput-on with the sobering realities of things that are no longer or may non exist around for much longer.
Sorry I don't accept better news today. I'm sure better news is coming. This thing chosen the organ won't die. But we might, if we don't listen to its call.
Monday
Apr 26 2021
One more on Get-go, and I'll be done, I think
I thought I was finished grousing nigh Get-go, but there's more.
I do love Commencement, honestly. I love the ceremony. I love the intimacy of the School of Music belongings its own anniversary on its ain stage, using its own organ and organist. But I have blogged in this footling ready of posts about some elements of it that gnaw at my patience. When the very nature ofanniversary begins to exist threatened, I begin to pace similar a caged tiger. My displeasure at all that is identical to my displeasure with the ongoing bastardization of liturgy at every turn in every denomination for the past few decades. Hey, information technology's my job; it's what I do. And then hither'south one more component of our Commencement exercises that has begun to drive me crazy:
This University holds seven split up Commencements, divided past college unit. About four years ago, upper Administration decided that Commencement proper should brainstorm at the advertised hour and that, therefore, theprocessionshould embark at fifteen minutes earlier the hour. This has necessitated wordier advertisements of procedure and start times, and information technology has wrought a bit of havoc with the ceremony for the smaller processions that don't take fifteen minutes (such as the School of Music and some other smaller units – ours takes near 7).
Perhaps the more liturgically-minded reader can appreciate the liturgical incorrectness of this determination. To advertise a 'service' for a certain hr only then to say that there volition exist fifteen minutes of 'pre-game' attractions sends the clearest message that those fifteen minutes are not part of the service. But would my Episcopal and Lutheran friends want to concede that the opening voluntary and opening processional hymn are not part of the ceremony? Wouldanyone want to concede that if the procession is not part of the ceremony, and then the network cameras don't need to be turned on until the princess bride has arrived at the altar? Heavens, no, folks. The procession is half the show. It's the pretty part. All those pretty colors processing into place. It IS the show, and the rest of the ceremony feeds out of that pageantry. Well, that'due south all I have to say near that.
The truth is that none of this volition alter, I'm sure. I'm howling at the wind to remember that Assistants will mind to a lowly music professor. On the other paw, wouldn't it be nice if a music professor were listened to on musical matters, especially if the present matter is besides of a [secular] liturgical nature, 1 of this professor'due south specialties. Well, this is why it'due south all being blogged about here, rather than being sent to Administration in a memo.
Monday
Feb xv 2021
Churchly responsibilities
The musicians in a church tend to take to leave Sunday School early to get to choir warmup, or they take to miss some midweek services for choir rehearsal.
As the organist, I would love to accept attended (or even led) some Sunday forenoon classes, but alas. However, I was certainly "getting some church" each week. The choirs were my Sunday Schoolhouse. The music was my nutrient. The paycheck wasn't the only thing getting me to church each calendar week.
I e'er felt a responsibility to the choir members and to the congregation. Since the choir was likely having to miss something else to participate in music, then I felt that I should requite them the holiest fourth dimension I could. It was piece of work time, but it was beautiful music preparation time. And information technology was 'sacred' in that it began and ended on time. And in the course of a routine rehearsal, nosotros'd also joy in merely being together, all huddled over cute music, swell a couple jokes, and listening to progress being made at every turn. Dare to tell a musician that THAT is not church building!
For the congregation, my responsibility was deeper simply shared with the choir. Our job was always to lead the congregation in their own musical health and also to offering praise that they themselves couldn't offering (unless they joined the choir and came to rehearsals). But we had to exist ready. We had to accept apposite and skillful. Nosotros had to do some nuts-and-bolts, non-holy work to go there each calendar week. And yet when we presented our hard work, it was translated as "worship" for the whole room. That was a non-sequitur I have never really processed fully -- that of grooming and preparing in social club to allow the Spirit to exist free.
An old friend always said, "God does non do dishes," which meant that nosotros accept to learn the notes and watch the conductor, while everyone else gets to ride the train and experience the holiness of the moment. That was a trade I was willing to brand, since I had already "had church building" with the choir before the congregation arrived.
Somewhere in there, I hitting the right notes. Somewhere in there I allowed everyone a little extra time to hit loftier notes, spit out lots of words, and exhale between stanzas. Perhaps somewhere in there, I besides offered some sort of musical thrill? My chore was simply to be prepared on a professional person level. There was nothing I could practise well-nigh the otherwordly of it.
People who say, "Yous, we just really need to focus on the Lord when we sing this," are wasting their and my time. God doesn't practice dishes. You lot demand to focus on the MUSIC and let the Lord practise as he pleases. Count on your professional music leaders to point the style. That'southward how it works.
Midweek
Dec sixteen 2020
Commencement: stirring, not Shakered, please
I deeply regret what COVID has washed to our public gatherings, and I sympathize with those students who didn't become to 'walk' during First ceremonies final May and likely won't this coming May. Our Commencement exercises for the Hayes School of Music at Appalachian State are intimate and enjoyable. I always savor being part of a smaller practice than with the cattle call for the other units across campus.
Every large college unit of measurement at this university holds its own Commencement ceremonies in the large multi-purpose arena across campus. In that location are therefore seven carve up ceremonies across three days each spring. All the same, the School of Music holds our ceremonies on ourown stage, in ourain building, with yours truly providing prelude and processional music on the mighty Casavant. On the surface, I love it; I honey the intimacy; I dearest being in our own house, seeing our own graduates walk past on the stage where they performed, being able to hear each one's name, and watching them shake paws with our administration every bit nosotros send them forth.
But of form, for some musicians like me, there are flaws, and I was glad, frankly, not to accept to deal with them last year. Run across here for additional posts. And at present see below:
At each ceremony across the entire campus, the crowds stand up and sing "Simple Gifts." What in the earth for? Why does "'Tis the gift to exist elementary…" demand to be sung in such a setting?
Answer: it doesn't.
The text is problematic. "'Tis the gift to be simple...come downwardly where nosotros ought to be...when true simplicity is gained...turning, turning, we come 'round right..." Almost of that is primitive, and it refers to imagery and concepts that no longer apply in our particular club. And life is not unproblematic if you're a higher pupil, and nosotros should end saying it is or that it should be. I e'er blench and fold into myself while accompanying that tune each yr, e'er asking myself, "What does this Mean? Aren't at that place other, more suitable, affirming tunes and texts nosotros could be singingen masse each year? Why am I seated here at the globe'due south nearly circuitous instrument, playing a vocal about simplicity, with a gathered group that finds simplicity also sensational to be pursued at face value?"
The local love matter with the Shaker tune apparently comes from the tune'southward advent in Aaron Copland's balletAppalachian Spring. But that is problematic. In 1944, Copland had the entire score written, but he still had no championship. Choreographer Martha Graham suggested a title. I can picture it now: "Aaaaaron, behbeh, why dontcha cawl it aaaapp-uh-LAYTCH-un spring?" [Consummate with mispronunciation of 'Appalachian,' I'd bet. If you're puzzled by that, encounter here.] And Copland bought it. And the name stuck. And someone at what was then called Appalachian Land Teachers College must take thought what a prissy idea information technology would be to sing that melody for our purposes here. Merely from self-associating with one word in Copland'due south completely after-thought and externally-suggested title? Sorry, merely Copland didn't writeAppalachian Spring for united states here.
The tune is problematic. Each year, I transport in my titles for processionals, and each year, the program proof comes back reading "Simple Gifts, trad., arr. Harbinson." Long-time faculty member and former dean Pecker Harbinson bundled an accompaniment for the brass quintet to play in the arena for the other units' Commencements. But for our ceremonies hither with organ alone, I don't play that version. Each yr, I have to remind my Acquaintance Dean that "No, the version I play is not 'arr. Harbinson.' Information technology's more accurately 'trad., harmony improvised past Bong, melody accommodate. Copland, tune further trainwrecked by audience.'" The audience tends to sing the rather altered hymnal version of the tune ("I danced in the morn"), while I play the original. And then this melodic train wreck perpetuates year after year. Information technology'due south a classic case of what happens when y'all don't provide the notes to proceed with the lyrics (hint, hint, screen-dependent churches).
I take a lot of annoying realities, simply this one refuses to go out from under my skin. This 'tradition' borne from ignorance makes us wait like idiots to those who know. And at present that you know, please don't think we're idiots. I'm working on it.
Thursday
Nov 26 2020
Widor vs. Joby, Role 11: Suite Latine and Trois Nouvelles Pièces
This is the eleventh and last installment in my series on my have on playing the complete works of Charles-Marie Widor. See the first mail in the series for an introduction and my philosophies behind this blog series. And as always, refer to John Almost'south edition for of import corrections in the scores that I might not necessarily mention.
The Suite latine and Trois Nouvelles Pièces are up today. Visit my programme notes on the pieces. And of course, feel complimentary to guild the recording.
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TheSuite latine makes me experience similar I'm 'adulterous.' We're not used to seeing a Widor organ piece that's not a Symphony, and so I feel like I'one thousand intruding into a forbidden corner of Widor's mind! These pieces experience like composed improvisations. And if that is the instance, and so we accept a most valuable glimpse into Widor's late improvisational prowess, of which increasingly fewer people – if whatever now – have ever heard in person.
If you have been keeping up all this time with these many posts in this serial, you'll discover that the after the piece, the fewer performance comments I accept. With the afterward pieces, Widor was less inclined to revise, and at that bespeak in his life, he didn't have time to get around to it, anyway. Just there's also something to be said for him 'getting it correct' the outset time later on in life.
I have only two comments for theLatine. First, the final two pages are, in the words of my dear friend John Yarrington, "worth the price of admission alone." Second, I would bespeak out a magnificent 'Wagner moment' in movement 1, measures 59-65. As noted earlier, Widor admired Wagner's music, and information technology may or may not exist adventitious that tiny moments of Wagnerian inspiration exist here and there.
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And finally, for theTrois Nouvelles Pièces: Widor'south indications throughout are plenty, and I have no corrections or performance quirks to offer. Not just did Widor have no further opportunity to revise these later works, but he as well 'got them right' the offset time. In some cases, that may exist because he was such a sure composer for the organ and did not need to re-infuse works with a more mature way. In other cases, he did not provide quite the volume of in-score indications he had earlier, in which case, the performer is at more liberty there, requiring less commentary hither. But practise every bit Widor said, and given the choice, don't go overboard with anything.
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I know of no liturgy to wrap this upwardly, so I'll simply denote, "Our Widor series is concluded!" (to which many may enthusiastically reply, "Thanks be to God!").
Sunday
Nov 08 2020
Widor vs. Joby, Part 10: Bach's Memento
This is the tenth installment in a series on my take on playing the consummate works of Charles-Marie Widor. See the first post in the series for an introduction and my philosophies behind this blog series. And equally always, refer to John About'southward edition for important corrections in the scores that I might not necessarily mention.
Bach'southward Memento is upwards today. Visit myprogramme notes on the piece. And of course, feel free toclub my recording.
I feel these pieces are the hardest Widor wrote – not only because the notes are difficult at times but as well because the deviation in ornament from Bach to Widor may threaten the integrity of either composer's wishes. Matters get further complicated when one is tempted to utilise ordinary bear on these pieces (considering they're Bach) only then required to play them legato (because they're Widor). Honoring one composer snubs the other!
At any rate, there is something insightful near seeing Widor'due south respect -- indeed his love -- for Bach in creating these paraphrases. Playing them is also an interestingly oblique way to include Bach on a recital program.
I'one thousand still puzzled by the English possessive in the set'southward title ("Bach's"). It looks to be Widor's own title, just why did he apply the English possessive course for information technology? Had it been in French, the title would have been something likeMemento de Bach. Had it been High german, it would have been something likeBachs Memento (no apostrophe). I have establish no satisfactory answer to this question. Let me know if you lot have!
See John Almost's edition for commentary and corrections to the original Hamelle edition. Meanwhile, I'll offering merely a few of my comments on a few movements:
Movement II:Miserere Mei …
This i introduces some ambiguous bug of harmonies and note choices, described in John Virtually's commentary in his edition. I wonder if Widor had a preferred harmonic function in mind, different from Bach's. Or I wonder (more likely) if he might accept been working from a faulty Bach edition in the first place. Hey, nosotros have learned a lot since then, y'all know.
Movement Iii: Aria
This 1 has registration problems. Manuals are non indicated at the commencement. If the easily play on a single manual, they run into each other, especially in measure out 19. Widor too asks for an expressive division for the right mitt, which would forestall, say, the Smashing. I decided to annals each hand separately but similarly, more than oft with 8-foot flutes. The easily move to the Récit Gambe, a nice contrast, where Widor indicates. If the organ has but 2 manuals, then I would put the right hand on a flute and the left hand on the cord.
Move Four:Marche du Veilleur de Nuit
This is probably the quirkiest affair Widor wrote for the organ. See what John Nearly has to say.
Movement Vi:Mattheus-Last
I'm non sure I could stand the indicated full organ with this piece. The notes are so high that mixtures (in some countries) will just make the neighborhood dogs howl in pain. Depending on the organ at hand, you may exercise well with full foundations and viii-human foot reeds, with little to no 2-foot or mixtures.
Measures 33-34, 45-46, 101-102: In the passages beginning withpiano into thecrescendo hairpin, I solo out the lowest manual voice on the Positif, having reduced the Positif a fleck starting time to rest. It helps make a smoother diminuendo to the Récit.
Wed
October 14 2020
Widor vs. Joby, Part 9: Symphonie gothique and Symphonie romane
This is the ninth installment in my series on my take on playing the complete works of Charles-Marie Widor. See the first postal service in the series for an introduction and my philosophies behind this weblog series. And as always, refer to John Near'south edition for important corrections in the scores that I might not necessarily mention.
Symphonie gothique andSymphonie romane are up today. Visit my program notes on the pieces. And of form, feel free to order the recordings.
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Symphonie gothique is an epic piece I recorded on an epic organ. Just wait 'til you hear thePuer natus on the party horn in the back during the Final. Otherwise, I take no additional 'tricks' to offering. Widor got these later Symphonies perfect. They play themselves if you follow Widor's registrations. Read John Most's commentary in his edition. Without delay.
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I accept playedSymphonie romane more than once in functioning. Each time, the profundity was palpable. It is utterly astounding how a bunch of black notes on a page can bring an entire room together, right into the palm of Widor's mitt. This piece lives in my heart, and I am glad I learned information technology.
This piece seems to be the image for various figurations and rhythmic quirks that afterward composers such as Vierne, Messiaen, and Duruflé used, besides. I presented some of that at a workshop at the Ago National Convention in Houston in 2016. Fascinating stuff. Maybe I'll post that here former.
See my extended program notes for this piece, and read John Almost'due south commentary in his edition.
Movement I
Relish all the rhythmic trickery, and put yourself in the audience'south position of having to notice the beat sometimes. Make information technology clear, like Widor surely did. Otherwise, follow his markings, and all will be well.
Motility Ii: Choral
Measure sixty: I move the left hand to the Récit on the second 16th. It helps with balance.
Movement IV: Terminal
Measure 129, final notation: If it sounds good, the horizontal reed works well here. Have it back off in the middle of beat 3 of 133 and begin a smooth decrescendo.
By the mode, Widor had a formula for crescendos and decrescendos. He said that the various 'batches' of stops (represented on the diverseventils) should be added on stiff beats and retired on weak beats. Since they were most always brought in or taken out in the aforementioned order, then yous could summate how many steps were needed and therefore when to start in one direction or the other. Works for me, but with modern piston gadgetry, we can have even more gradations and can exist even more subtle and smooth, much similar a GermanRollschweller. If you have the technology or smart registrants, be as subtle as you lot like. Don't rely on the American Crescendo shoe. Rarely is that subtle enough, especially when the instrument's specification is anything merely subtle in the first place. Work with what you take.
Monday
Sep 21 2020
Widor vs. Joby, Function 8: Symphony No. VIII
This is the 8th installment in my serial on my accept on playing the complete works of Charles-Marie Widor. Run into the first postal service in the serial for an introduction and my philosophies behind this weblog series. And as always, refer to John Virtually's edition for important corrections in the scores that I might non necessarily mention.
Symphony Viii is up today. Visit my program notes on the piece. And of course, feel free to society the recording.
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Motility I
My recording of this movement is going to drive anyone crazy who is following along with a score in their lap. This motility is the most patchworked of all in the entire recording project. I use $.25 and pieces from various revisions given in John Most's edition. Good luck following along.
Movement 2
The A department sounds similar Mendelssohn, through and through. The B section has some of those foreign registrations that Widor experimented with over the years. It'southward very difficult to make information technology balance in the U.South.
Move III
See John Near for diverse corrections.
Measure 20: This is a canon between the hands. I choose to play the right manus on the Positif, so that the left hand canon tin can be heard better. Then I move the left hand to the Positif in 29 to balance with the right mitt now on the Récit.
From mensurate 76, the easily are 'battling' for some of the same pitches in different rhythms. I choose to separate the hands on their own manuals then that non only can wehear all those pitches, merely besides the hands don't accept to work and then hard. Beginning in 75, I put the right hand on the Récit and the left hand on the Positif. So nothing changes in 83.
Mensurate 90: I move the left paw to the Récit, where it now belongs for the upcoming section.
Measures 152-162: Manage smooth pistons!
Measure 190: I move the left mitt to the Récit on the downbeat and the right hand on the last eighth. That makes a smoother inflow into 191.
Measures 226 to the end: I use a previous revision of Widor's. For all the patchwork I use, I always go with what I consider to be the meliorate music each time.
Move Four: Prelude and Variations
Widor removed the Prelude in later revisions. But it is such wonderful music that I recorded it and perform it. The Prelude is a irksome-moving 'melody chorale,' while the Variations are more flowing. Peradventure Widor removed the Prelude because the increased slowness of the theme in the prelude (4/4) rendered it unrecognizable confronting the bodily tune in the Variations (six/viii). At any charge per unit, consider information technology saved from obscurity!
The Variations are a huge, sprawling, rewarding set up. Take some fun registering them, because Widor'southward registrations are a bit ... ho-hum. It's not oftentimes I completely ignore him, but here is ane such example. I have always found it strange that Widor, having presided for then many years at France'southward largest and nigh colorful organ, was often ... and then ... colorless ... about registration. We do know that he hated too many kaleidoscopic registration changes, but surely he would be amenable to more colorful basic registrations to starting time with. And for a move this long with then few registration changes, I just observe it wearying on the ears. I suppose this would be a proficient fourth dimension to confess that I tin't stand up listening to the Bach Passacaglia on a single registration, but that's for another blog mail that I probably won't write.
Movement VI: Finale
The main theme of this move sounds like a minor-key version of "A dream is a wish your heart makes." My apologies to the older readers who at present have an earworm they weren't expecting from a discussion of Widor organ symphonies.
Measure 52: I movement the left paw to the Positif during this mensurate. It makes life much easier to get in in the next bar.
The final nine measures vex me. My recording is of Widor's last revision, which includes a thrilling moment on a full C-major chord (Neapolitan, for my beau theory nerds out there). Just when I really performed this publicly, I used an earlier revision, which has another wonderful 'lick' I similar. I'll probably modify my mind next time, besides. See John Nearly for all these wonderful options.
Source: http://jobybell.org/
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