The Musical Diary of Greg Scheer

Lương Chí Cường moved to America a few years ago after a successful singing career in his home country of Vietnam, even winning Vietnamese Idol. The song we chose for his collaboration with the Holland Symphony Orchestra was a rousing song of national pride, Dòng máu Lạc Hồng (The Children of Lac Hong).

This song has the feel of a score from a Hollywood blockbuster, with strings soaring into their upper register and brass punching through with regal fanfares. Still, the full orchestra is no match for Cuong’s powerhouse voice, spectacular wardrobe, and performance style. When he left the stage and sauntered into the crowd (3:26) I thought the crowd would lose its collective mind!

Besides the overall pedal-to-the-metal orchestration throughout, here are a few moments I particularly like:

2:31 I discovered a while back that using a clothespin as a violin mute imitated the nasal tone of the Chinese Erhu or Vietnamese Dàn Gáo. The first time the orchestra rehearsed this section, everyone looked around to see what exotic new instrument this might be.

4:01 The percussion-heavy arrangement culminates in an extended percussion section in which two sets of tom-toms spar over a foundational beat from the drum set.

4:46 At the final return of the chorus, I wanted to ramp up the energy even more, so I used an unprepared modulation to increase the intensity, switched the flutes to piccolos, and gave all the woodwinds Philip Glass-style arpeggios that really cut through the wall of sound coming from the rest of the orchestra.

Samuel Nalangira is a Ugandan songwriter and multi-instrumentalist who has lived in West Michigan for several years. He is a consummate performer, an Adungu virtuoso, and a lovely human being.

He wrote a song when his twins were born called “Babirye” (the firstborn among twins). While many of his songs are energetic opportunities for Samuel to teach audiences African dance moves, “Babirye” is a mesmerizing, tender song based on a repeated Adungu* arpeggio.

The challenge with this song is that a four-chord pattern repeats over and over with vocals floating freely on top of that foundation. I decided that the best approach would be almost minimalist–some doubling of the Adungu arpeggio, a cloud of strings, and soloists and sections of the orchestra filling in the spaces between Samuel’s vocals like a conversation. This was one of my favorite arrangements; it felt like the orchestra added depth and texture, heightening Samuel’s already beautiful song.

Pay special attention to a few moments in the performance:

4:18 The song builds slowly with muted, sustained strings and light percussion doubling. More musicians are added little by little until a final build-up to the chorus at 7:30.

8:17 The oscillating marimba pattern worked beautifully in this section.

8:42 The “Babirye” theme moves through the orchestra, building lush chords.

10:30 I like how the arrangement winds down: the full orchestra finishes, and the strings take over, followed by short a woodwind coda.

*The Adungu is a harp-like Ugandan instrument.

Grupo Super Nova is Cumbia band from Holland, MI, comprised of the Garcia brothers, who immigrated from Mexico when they were children. We decided on their original song, “Sufro Por Tu Amor” (“How Long Must I Suffer for Your Love?”) written by Christian Paul Garcia when he was 16.

Here’s where my job as an orchestrator became interesting. Cumbia is a Latin style that features a strong backbeat to create upbeat, danceable music. Upbeat and danceable are not typically an orchestra’s forte… Further complicating the task is that Super Grupo Nova already includes an electric bass and drum set, so I had to find ways to have them complement each other rather than fight.

A few notable moments:

1:45 Grupo Super Nova’s original recording began with a quiet synth pad and a digital harp arpeggio. It translated beautifully into solo violin and string pizzicato.

3:26 I love this string ostinato against the song’s melody. Together, they really soar.

4:00 This orchestral interlude felt just right–a brief moment for the orchestra to take the lead, with the melody volleying between sections. It was also at this point in the performance that the rhythm gelled between the band and the orchestral percussion. (In retrospect, we should have put the band on the percussion side of the orchestra so they could hear each other.)

The first collaboration was with Nina Tritenichenko. She sings and plays Bayan Accordion, an all-button accordion that is common throughout the world, including her home country of Ukraine. The tune she chose was “Ikhav Kozak za Dunaj” (“The Cossack Rode beyond the Danube”). This folk song became popular throughout the world by its German name, “Schöne Minke” (“Beautiful Minke”).

Nina had a specific set of variations on the Minka tune that she wanted to perform. Because her accordion part was set in stone, my task was to build around it with the orchestra. I began by composing a grand overture-style introduction–a fanfare that established the tone of what was to come. Next, she sang a verse of the song to introduce the theme. Each variation became increasingly complex and exciting, with orchestration to match.

Some favorite moments in this arrangement include:

4:00 I turned this variation into a duet with the concertmaster! It added texture to the solo accordion and let an orchestra member momentarily come to the foreground.

4:42 I’m a huge fan of arpeggios that sweep through the orchestra like a harp. This one worked magnificently.

5:00 This interlude gave Nina a breather and created anticipation for the final, flashy variation.