The Passing of Jimmy Wyble

I was saddened last week to read that the great guitarist Jimmy Wyble passed away (obit in the LA Times). I knew Jimmy from the 1970s when I worked at Larry Larsen's Music Studio in Glendale. Jimmy rented teaching space there and we would often talk and play guitars between lessons.

Jimmy was a wonderfully creative and talented musician. His style was a truly unique blend of country-western, jazz, and classical music. It was always a joy to hear him play. What was even more impressive about Jimmy, however, was the person that he was. I have never known a kinder or more supportive man.

I remember one day Jimmy and I were talking when a boy of about twelve walked into the studio. After a few minutes the boy pulled out a guitar and played a rather poor rendition of "Stairway to Heaven." Back in those days just about anyone who had ever touched a guitar knew the opening to that rock classic. Few could play it well, and even today it is probably the most butchered song in the history of the guitar.

But Jimmy listened attentively. When the boy was done, Jimmy complimented him. "That was beautiful. How exciting that you are learning guitar. I can really hear that you love the music. You keep practicing and you are going to be a wonderful guitarist." – or something along those lines.

Now from anyone else, I would have said that it was just a bunch of polite BS, but from Jimmy it was 100% sincere. He had the ability to see past the obvious and understand the essence of the moment. It was beautiful and exciting for him to see someone at the early stages of learning a musical instrument. Jimmy could hear the love that someone had for music even through the wrong notes, poor phrasing, and stuttered rhythms. He could see ten years down the road when, with practice, that beginning guitarist would be a good musician.

It was no surprise that Jimmy was a great teacher. Even though I never took formal lessons from him, I learned a great deal about music and teaching from Jimmy. He lives on not only in his music but also in all those whom he inspired with his love and kindness.

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Jimmy Wyble's website is still up. It is worth a visit if only to hear Jimmy play the number on the homepage.

Music, the Antidote to Worry

I'm not sure why Thomas Weelkes' gem "O Care, thou wilt despatch me" (part 1) never crossed my musical path (shame on me!), but when I discovered the madrigal on the Choral Public Domain Library a few weeks ago I was quickly excited, delighted, and intrigued.

The title comprises the first line of the song. The five voices enter one at a time with a slow sigh motive – some rising a half step and returning, others dipping down a semitone before coming back to the original pitch. Out of this melodic material Weelkes weaves a mournful harmony with longing dissonances and despondent minor progressions. The music effectively captures the anguish of someone overwhelmed by worry.

But the next line, "if Music do not match thee," offers hope. My cares will weigh me down unless music is there to ease the burden. The melody begins with an upward movement, the harmony shifts to major, and the shorter rhythmic values picks up the pace. A few measures later the singers even break into a short "fa-la-la."

The optimism is short lived, however, for in the next line, "So deadly dost thou sting me," the mood shifts back to despair and pain (with an extremely painful dissonance of f against f# – do I dare perform that?). The piece ultimately ends on a positive note, including the return of the "fa-la-las," yet I sense that this is not a complete victory – a triumph tempered by the losses incurred in the battle. The "fa-la" refrain is too short and restrained to completely wipe out the memory of the previous pain.

Weelkes' setting of this short poem is direct, yet with wonderful touches of subtlety. It presents several challenges for my high school group. On the mechanical side, the chromaticism, shifting modalities, and dissonant harmonies can create intonation issues. On the interpretation side, it is critical to bring out the most important part at any particular point. It is also a bit of a trick to make the mood switches convincing while not over-playing them.

As wonderful as the music is, the text is equally appealing. Music is the antidote to worry and pain. How many times have I sought refuge there, losing myself in sound, making sense of the world through the logic of harmony and form, and easing my emotional strain by riding the emotions of the music?

For how many people has music been such a balm? It must have been so for Weelkes. What cares disturbed his sleep at night? As we sing "O Care" we share the comforting power of music with him.

Here are the lyrics to both parts of "O Care":

O Care, thou wilt despatch me,
If music do not match thee. Fa la.
So deadly dost thou sting me,
Mirth only help can bring me. Fa la.

Hence, Care, thou art too cruel,
Come, music, sick man’s jewel. Fa la.
His force had well nigh slain me,
But thou must now sustain me. Fa la.