Behold the man upon the cross, my sin upon His shoulders.

for the first time in ever I was running the projector for our Wednesday rehearsal because neither of the people who normally run it were available this week.  It's great that this is the week we happen to have a different pianist so that I was able to fill in.

It was a fun Wednesday, I must say.  I was able to learn how to run the projector, I was able to still help out with musical questions and pointers, I was able to run to get reprints of music when we changed keys for two pieces, and I was able to fill in for the pianist before she arrived at the beginning while we set the sound levels.

It was neat to be there, to be involved and to direct but to not have the added pressure of playing the piano and singing.  It was also neat that, after we played the first song for a sound check, I had the liberty to wander up to the back of the stage, while other people were chatting and fixing the levels, to shake the percussionist's hand.

She was wearing a dazzling tiara (because it was Hallowe'en) and so when I came up, I made sure to act strangely so she'd be weirded out.  And then after waiting too long to start speaking after approaching a person I said, "Hello, Princess S____," as I curtseyed.  She laughed and said hello, looking at me with great anticipation for things to get stranger.  (She knows me well.)

I then put out my hand. She looked at me quizzically but extended her own hand slowly-slowly.  I shook it and then started leaving.  I had meant to say something while we were shaking hands (this is normal) but then I kinda lost both the words and the nerve.

"What was that??" she asked, half-laughing.

"You're just so ridiculously good at this," I blurted, gesturing toward the drum kit as I walked away.  "I can't handle it." 

I wasn't even making eye-contact because I felt like I was gushing and I don't know how many times I can tell a person the same emphatic compliment before it loses all impact.  I want to encourage her but what can I say?

I don't remember her exact response but she seemed to take it well.




An hour and a half later, when we were wrapping up, I again came to the back of the stage but this time I was putting in effort to be (partially) normal.  "This is weird - I never have notes for you!  But I have notes for you."  I realised immediately that this was a terrible opening because it might put her on guard.  I asked if she would not playing during the Communion song. 

Listening from the back of the room I had decided that the drums made the song too big and were actually a kind of distraction for the context. I went up and told her, happy that I had anything to say because this woman is so talented at what she does (not just at playing percussion but also with playing in a group, being musically creative and with leading worship)  I can usually just let her do her thing but it sets up a weird dynamic if everyone else gets notes from me on a regular basis and she gets next to none.

So I told her I didn't want drums for that song and it came out all fumbley because I hadn't thought it through.  I think my opening line shot myself in the foot.  Ah, well.

Then I asked her if she knew that "How Deep the Father's Love for Us" was written in 5/4 time.  She said she didn't.  I told her that our copies are printed in alternating bars of 4/4 and 6/4 which does make sense mathematically but is a) ridiculous and b) taking away from the composer's intent with the irregular metre.

I ask if she can play in 5/4 and she says she doesn't know how but that she did feel like something was off with that song.  I said I could hear her twos and fours very heavily - this was actually what compelled me from the back of the room - which simply doesn't work in this time signature.  She asks me how it works and I tell her it's a three and two.  (I am secretly LOVING being able to talk technically about music with someone, even if it is really weak terminology and a short conversation.)  "One-two-three, one-two," I say to further demonstrate the grouping. 

She nods and says, "OK," the same way she always nods and says, "OK," when I've set her a challenge or made a request or played her an excerpt and after a few seconds of processing she turns around and executes perfectly.  (It's mighty gross.) 

A few seconds to process and then she asks if I'll play a verse so she can test it out.  She nails it.  (Of course she does.)  I think it took a few bars to really get into it, and I wasn't watching so I don't know if she just needed to count aloud but the lady got it.  And it's so cool to hear music played as it's written or as the composer intended it.  If the composer is any good, the music will sound good.

She's getting up and putting her shoes back on and I'm placing the cover back on the piano. She asks me where to put the bass drum and my first response is to be disappointed that she's just talked out of my league but then realising what kind of input she's looking for and that I DO know the answer, I'm even happier that I can answer a specific question about an instrument I don't play.  I like talking music.  Seriously.

Put it on the ones only, I think.  She accepts.  I tell her that I'm sorry if my corrections and input came across harshly.  I explain that I'm just not used to doing it with her.  She tells me it's fine and that she feels like she can always do better.  She tells me she wants to learn.  Great.

I can explain irregular metres and I can talk downbeats and any rhythm stuff that came out of a textbook but to really speak into the drums the way I speak into singing, guitar, piano, bass and sometimes violin, I'm a little hard-pressed.  It's something I'd like to work on; to be able to coach her specifically and to learn to speak Percussion.

Good chat.