diff --git a/.gitignore b/.gitignore index 19f97fc..bebcdc4 100644 --- a/.gitignore +++ b/.gitignore @@ -2,3 +2,7 @@ .sw? *.aux *.log +agendas/*.html +website/make_site +website/rendered +nimcache/ diff --git a/website/agendas/2017-01-03.md b/website/agendas/2017-01-03.md index 9ef5efc..880d77b 100644 --- a/website/agendas/2017-01-03.md +++ b/website/agendas/2017-01-03.md @@ -1,4 +1,4 @@ -title = "Rehearsal Agenda for Jan. 3rd, 2017" +{"title": "Rehearsal Agenda for Jan. 3rd, 2017"} +++ ### Warm up, getting settled. diff --git a/website/agendas/2017-01-03.rst b/website/agendas/2017-01-03.rst deleted file mode 100644 index 45c73d7..0000000 --- a/website/agendas/2017-01-03.rst +++ /dev/null @@ -1,289 +0,0 @@ -{ "title": "Rehearsal Agenda for Jan. 3rd, 2017"} -+++ -Warm up, getting settled. -------------------------- - -Start practice with the first band member starting some groove, or small piece. -As others come, they join, make up a part, check levels, etc. - -Quick summary of band goals. ----------------------------- - -The main band is optimized for experience musicians. There are some habits that -make it difficult for new members to jump in. For example: - -* Song selection changes on short notice. -* Material is given on short notice and not always entirely accurate. -* There are lots of songs to learn. - -We need new people rotating into the music ministry in order to keep it -healthy, but jumping directly into the primary band is not the an easy task. We -need a different format that gives intermediate players and new members a -chance to get up to speed with the music. That's what this band is intended to -be. We are not creating a new, separate band in the music program but a new -format to introduce new members and experiment with new practice methods. - -This band is pursuing excellence through rigorous preparation. We will: - -* Have songs chosen a month in advance, -* Have accurate material available from the beginning in the correct key, -* Prepare the song order in advance, -* Not make changes to the song selection or material, -* Have an agenda for each practice, and -* Emphasize personal practice for learning parts. - -For band members we will have lead sheets with all the chord changes recorded -and any runs notated. For the vocalists we will have individual parts recorded. -For both we will have reference material. We want to make personal practice -time meaningful so we won't make changes that waste the time our members have -spent practicing. - -Our goal for every song will be first to be able to play it as well as the -recording. Of course it will take time to develop that level, but that is the -goal. First we will learn the music as it was written, and play it as close as -possible to the original. Once we know the song inside and out we may begin to -play with it as a band, but our first goal is to duplicate the professional -sound. - -Ultimately the goals of this band are: - -* To develop a new culture of excellence through preparation at New Life, -* Give new members an entry point to the New Life music program, -* Create a place for people to learn new skills (or learn a new instrument), - and -* Prepare people to transition to regularly playing in the regular rotation. - -Choose new songs ----------------- - -Short summary of my musical philosophy --------------------------------------- - -There are lots of different approaches to music. I'm going to massively simplify -and distill down to two extremes. These are extremes, not actually what happens: - -1. Musical performance is a highly coordinated effort and the goal is to create - a specific sound in concert. Replicating perfectly a pre-defined part is - ideal. - -2. Musical performance is a form of self-expression and the goal is to - communicate the thoughts, feelings, and emotions of the musician. - Creating music that is honest about the feelings of the performer is ideal. - -Classical, orchestral music is the stereotype of the first model. The individual -musicians subordinate their individual expression to the purpose and goal of the -broader band. You have a part to play and you do not deviate from that part. - -Jazz is the stereotype of the second model where an emphasis is placed on the -improvisation of the members. Often the written music serves only as a -guideline or structural base for what the musicians will play. - -Of course, these are simplifications. Actual musical performance lives in -between these extremes. In the orchestral setting obviously emotional playing is -crucial to the performance, but it's happening on the level of the group, not -the individual. And in jazz you still have structure, even if it is emergent: -not scripted. Any time you have more than one person playing you have to have -some sort of syncronization. There is a reason that you very rarely see large -groups of player all improvising at the same time. Look at big band jazz, for -example, and you see a lot of the same structure as the orchestra! - -So where do we sit? Well, close to the middle, I think. We have music that we -are asked to play. But this is not just a performance. We are part of the -worship service so our playing is a personal expression to some extent. Music is -part of how I express myself to the Lord, how I worship Him. A lot of that -happens on the platform here. - -But, we are also leading the congregation in worship. It is not purely about our -self-expression of praise to God, but also about creating an atmosphere that -makes it easy for members of the congregation to express their praise and -worship. We do this as a part of a larger team. I'm working together with the -other musicians, and with the praise singers. - -In many ways a worship team can be more free-flowing and improvisational than a -typical band, because it is this expression of worship. At the same time that -freedom of expression exists within the larger context of the church body. In 1 -Corinthians Paul talked about the body of Christ: - - **12** Just as a body, though one, has many parts, but all its many parts - form one body, so it is with Christ. **13** For we were all baptized by one - Spirit so as to form one body—whether Jews or Gentiles, slave or free—and we - were all given the one Spirit to drink. **14** Even so the body is not made up - of one part but of many. - - **24b** God has put the body together, giving greater honor to the parts that - lacked it, **25** so that there should be no division in the body, but that - its parts should have equal concern for each other. **26** If one part - suffers, every part suffers with it; if one part is honored, every part - rejoices with it. - -This truth applies in the context of music as well! - -*Purpose for this section: setup the motivation for growth. Frame the musician -as a thinking, feeling agent in the music-making process. All individually -responsible for the collective end-result.* - -Attitudes of the Musician -------------------------- - -* Humility: we are all in service to the music. -* Curiosity -* Playfulness -* Tastefullness/Discernment - -Paying attention/levels of thinking. ------------------------------------- - -There is this guy, Benjamin Bloom, who categorized educational goald into six levels of thinking: - -1. gathering knowledge -2. comprehending and confirming -3. applying knowledge -4. analyzing: thinking about a whole in terms of it's various parts -5. synthesizing: putting parts together to form a whole, many parts into a new - whole -6. evaluating: making comparisons and judgements. What worked best? - -I know a lot of what I'm saying is already known to some of you. It's easy to -zone out. I know because I catch myself doing it all the time. Instead, let's -pay active attention, even to the things we know. Work your way up the levels. -If you've already mastered what I'm saying, be analyzing it, or evaluating it. -Maybe you have something to contribute. - -On Practice ------------ - -*Discuss my views on "Natural Talent" vs practice & hard work.* - -Effective practice: - -* has well-defined, specific goals, - - Aimless exploration has a place, and just playing for fun has a place. Those - are great, and I'm not saying you shouldn't do them. I probably spend just as - much time playing for fun as I do actually practising, because I like playing - music. But that's not practice. The point of practice is to improve something. - - When we do sit down to practice, we should have a clear, measurable goal. For - example, I want to learn the chorus pattern from Glorious by Martha Munizzi. - Or I want to improve my sense of rythym. Good goal, how are you going to - measure it? I'm going to choose some rythmic pattern and play it along with a - metronome. I'll record myself and that's how I'll judge my progress. - -* is focused, - - Practice is not always fun. Y'all are all adults, so this is probably - something you have already learned. I learned to enjoy practice because I - enjoy the results. I try to choose things the practice that I like doing. But - even then, often I don't want to get started. Practice needs to be focused, - with effort. - -* incorporates immediate feedback, - - Again, the whole point of practice is specifically to improve something. The - time we spend practicing affects how we play. When I was in band in school we - had practice logs. You had to practice so long a week and get your parents to - sign off on your time. You would sometimes see these kids who would have a - full sheet, but still play horribly. - - "Did you practice?" - - "Yeah" - - "How did you practice?" - - "I don't know, I just played the music." - - What happened is they just mindlessly played through the music over and over, - not paying particular attention to how *well* they played it. They'd practiced - for hours playing it poorly, so of course when they performed they played it - poorly. When you are practicing, if you make a mistake, stop and immediately - correct it. This is why many teachers tell you to play it slow first until you - have it correctly, then speed up. You will play the way you practice, so make - sure you practice it correctly! - - But this goes beyond just am I playing the right notes. This is where - tastefulness and discernment come into play. When I personally practice I am - constantly asking myself, "Do I like what I just played?" or put another way: - "If I was in the band recording this for a record, would I be proud of it?" - How does it compare to the original artists? Does it sound good? Is it good? - This requires that you have good musical taste and discernment! - - It's also very subjective, and I've found that there is a difference between - how things *feel* while you're playing, and how they *sound* as a listener. - So, one of your best practice aids is a small audio recorder. Record yourself - as you practice, then play it back and listen to yourself critically. Be mean! - This requires courage! You have to be able to say, "OK, that sucked, but I'll - get better." Don't quit playing. It can be easy to get drowned in all the - things you did wrong, but if you can learn to ignore how far you have to go - and focus on what--specifically--you can improve, then you are in a good - place. Comes back to humility. - - Here are some of the kinds of things that I have noticed in my own playing - when doing this: - - * My timing is off. - * I'm wrong on some of the notes in that run. - * It doesn't feel like it does when Y plays it. He sounds so smooth, my run - sounds jerky/stilted/not grooving. - * I'm not getting the dynamics quite right. - * He's playing some other stuff I missed when I first learned this. I need to - go back and re-listen again now that I know the line better to pick up - those subtle differences - * They're voicing this chord a little different than I am. - * The tone of his bass is different and sounds better in this situation. What - is it about that tone and how do I replicate that? Is he playing that part - higher on the neck? - - Then you identify how to fix that, and work on it. This is where a teacher, or - others can help. I'm happy to offer ideas about how to practice things - - The key is, you need to get immediate feedback and address it. Working with a - teacher is great because they can offer feedback based on their greater - experience, but to maximize the effectiveness of your practice you need to be - evaluating yourself as you practice. - -* pushes the boundaries of your comfort zone. - - If you are practicing something that you are already really good at then you - are not improving. The point of practice is to improve something. That means - you have to work on something that needs improvement. - - Howver, it is possible to overreach. You need to work something that is far - enough outside your comfort zone that you have to strecth, but not so far that - you can't reach it at all. We want to fail, but be able to learn from the - failures. - - You can and should adjust the difficulty of your practice on your own to find - the sweet spot. Too easy and you don't progress. Too hard and it's no fun, - it's frustrating, you burn out, and you don't progress. - - Learn to simplify. For example, if I'm learning a new song on drums, first I - may try to get the basic pattern and stick to basic fills. Then when I can - easily keep the tempo steady and navigate the fills without drifting from the - tempo, I'll learn the accents that the drummer who recorded it added. Then I'll - work on the specific fills they used. - - Or on bass, first I'll learn the basic bass line based on the chord - progression. Then I'll listen for alterations the original bassist added. Then - I'll work on unison runs they do. Then I'll listen for ornamentation that the - original bassist added and try to learn that. - - If I'm learning a run or a hard passage, I'll slow it down to where I can play - it comfortably. Then I'll bump it up 5bpm at a time until it's hard but - doable. Then I'll practice that, correctly. If it's too fast for me to play - correctly, I'll slow down until it is easy at the slower tempo and possible at - the faster tempo. Keep going until it is easy at the original tempo. Now I - have the lick, and more generally, I've added all the patterns from that lick - to my muscle memory. I can re-use the lick, or parts of the lick in other - places. Maybe I'll even practice that. - - Practicing time: practice with a click. Set the click to 1-2-3-4. Practice - your rythym. Now put the click at half the tempo, and make it only 1 and 3. Do - it again. Same tempo, but put the click on 2 and 4 now. Do it again. Half the - click again, only on 1. Again, only on 2, then only on 3, then only on 4. Take - these excercises and vary the tempo. How slow can you go (in small increments) - and still keep the tempo steady? How fast? It's not about showing off to - yourself, it's about pushing your boundaries. If you feel like you have really - solid time, push yourself more. Can you put the click on just the 8th after 1 - and 3? Move it around on other 8ths. 16ths? What if you combine these with - other excercises? diff --git a/website/content/agendas/2017-01-03.md b/website/content/agendas/2017-01-03.md deleted file mode 100644 index d9b81dc..0000000 --- a/website/content/agendas/2017-01-03.md +++ /dev/null @@ -1,280 +0,0 @@ -### Warm up, getting settled. - -Start practice with the first band member starting some groove, or small piece. -As others come, they join, make up a part, check levels, etc. - -### Quick summary of band goals. - -The main band is optimized for experience musicians. There are some habits that -make it difficult for new members to jump in. For example: - -* Song selection changes on short notice. -* Material is given on short notice and not always entirely accurate. -* There are lots of songs to learn. - -We need new people rotating into the music ministry in order to keep it -healthy, but jumping directly into the primary band is not the an easy task. We -need a different format that gives intermediate players and new members a -chance to get up to speed with the music. That's what this band is intended to -be. We are not creating a new, separate band in the music program but a new -format to introduce new members and experiment with new practice methods. - -This band is pursuing excellence through rigorous preparation. We will: - -* Have songs chosen a month in advance, -* Have accurate material available from the beginning in the correct key, -* Prepare the song order in advance, -* Not make changes to the song selection or material, -* Have an agenda for each practice, and -* Emphasize personal practice for learning parts. - -For band members we will have lead sheets with all the chord changes recorded -and any runs notated. For the vocalists we will have individual parts recorded. -For both we will have reference material. We want to make personal practice -time meaningful so we won't make changes that waste the time our members have -spent practicing. - -Our goal for every song will be first to be able to play it as well as the -recording. Of course it will take time to develop that level, but that is the -goal. First we will learn the music as it was written, and play it as close as -possible to the original. Once we know the song inside and out we may begin to -play with it as a band, but our first goal is to duplicate the professional -sound. - -Ultimately the goals of this band are: - -* To develop a new culture of excellence through preparation at New Life, -* Give new members an entry point to the New Life music program, -* Create a place for people to learn new skills (or learn a new instrument), - and -* Prepare people to transition to regularly playing in the regular rotation. - -### Choose new songs - -### Short summary of my musical philosophy - -There are lots of different approaches to music. I'm going to massively simplify -and distill down to two extremes. There are extremes, not actually what happens: - -1. Musical performance is a highly coordinated effort and the goal is to create - a specific sound in concert. Replicating perfectly a pre-defined part is - ideal. - -2. Musical performance is a form of self-expression and the goal is to - communicate the thoughts, feelings, and emotions of the musician. - Creating music that is honest about the feelings of the performer is ideal. - -Classical, orchestral music is the stereotype of the first model. The individual -musicians subordinate their individual expression to the purpose and goal of the -broader band. You have a part to play and you do not deviate from that part. - -Jazz is the stereotype of the second model where an emphasis is placed on the -improvisation of the members. Often the written music serves only as a -guideline or structural base for what the musicians will play. - -Of course, these are simplifications. Actual musical performance lives in -between these extremes. In the orchestral setting obviously emotional playing is -crucial to the performance, but it's happening on the level of the group, not -the individual. And in jazz you still have structure, even if it is emergent: -not scripted. Any time you have more than one person playing you have to have -some sort of syncronization. There is a reason that you very rarely see large -groups of player all improvising at the same time. Look at big band jazz, for -example, and you see a lot of the same structure as the orchestra! - -So where do we sit? Well, close to the middle, I think. We have music that we -are asked to play. But this is not just a performance. We are part of the -worship service so our playing is a personal expression to some extent. Music is -part of how I express myself to the Lord, how I worship Him. A lot of that -happens on the platform here. - -But, we are also leading the congregation in worship. It is not purely about our -self-expression of praise to God, but also about creating an atmosphere that -makes it easy for members of the congregation to express their praise and -worship. We do this as a part of a larger team. I'm working together with the -other musicians, and with the praise singers. - -In many ways a worship team can be more free-flowing and improvisational than a -typical band, because it is this expression of worship. At the same time that -freedom of expression exists within the larger context of the church body. In 1 -Corinthians Paul talked about the body of Christ: - -> **12** Just as a body, though one, has many parts, but all its many parts -> form one body, so it is with Christ. **13** For we were all baptized by one -> Spirit so as to form one body—whether Jews or Gentiles, slave or free—and we -> were all given the one Spirit to drink. **14** Even so the body is not made up -> of one part but of many. - -> **24b** God has put the body together, giving greater honor to the parts that -> lacked it, **25** so that there should be no division in the body, but that -> its parts should have equal concern for each other. **26** If one part -> suffers, every part suffers with it; if one part is honored, every part -> rejoices with it. - -This truth applies in the context of music as well! - -*Purpose for this section: setup the motivation for growth. Frame the musician -as a thinking, feeling agent in the music-making process. All individually -responsible for the collective end-result.* - -### Attitudes of the Musician - -* Humility: we are all in service to the music. -* Curiosity -* Playfulness -* Tastefullness/Discernment - -### Paying attention/levels of thinking. - -There is this guy, Benjamin Bloom, who categorized educational goald into six levels of thinking: - -1. gathering knowledge -2. comprehending and confirming -3. applying knowledge -4. analyzing: thinking about a whole in terms of it's various parts -5. synthesizing: putting parts together to form a whole, many parts into a new - whole -6. evaluating: making comparisons and judgements. What worked best? - -I know a lot of what I'm sayin some of you already know. It's easy to zone out. -I know because I catch myself doing it all the time. Instead, let's pay active -attention, even to the things we know. Work your way up the levels. If you've -already mastered what I'm saying, be analyzing it, or evaluating it. Maybe you -have something to contribute. - -### On Practice - -*Discuss my views on "Natural Talent" vs practice & hard work.* - -Effective practice: - -* has well-defined, specific goals, - - Aimless exploration has a place, and just playing for fun has a place. Those - are great, and I'm not saying you shouldn't do them. I probably spend just as - much time playing for fun as I do actually practising, because I like playing - music. But that's not practice. The point of practice is to improve something. - - When we do sit down to practice, we should have a clear, measurable goal. For - example, I want to learn the chorus pattern from Glorious by Martha Munizzi. - Or I want to improve my sense of rythym. Good goal, how are you going to - measure it? I'm going to choose some rythmic pattern and play it along with a - metronome. I'll record myself and that's how I'll judge my progress. - -* is focused, - - Practice is not always fun. Y'all are all adults, so this is probably - something you have already learned. I learned to enjoy practice because I - enjoy the results. I try to choose things the practice that I like doing. But - even then, often I don't want to get started. Practice needs to be focused, - with effort. - -* incorporates immediate feedback, - - Again, the whole point of practice is specifically to improve something. The - time we spend practicing affects how we play. When I was in band in school we - had practice logs. You had to practice so long a week and get your parents to - sign off on your time. You would sometimes see these kids who would have a - full sheet, but still play horribly. - - "Did you practice?" - - "Yeah" - - "How did you practice?" - - "I don't know, I just played the music." - - What happened is they just mindlessly played through the music over and over, - not paying particular attention to how *well* they played it. They'd practiced - for hours playing it poorly, so of course when they performed they played it - poorly. When you are practicing, if you make a mistake, stop and immediately - correct it. This is why many teachers tell you to play it slow first until you - have it correctly, then speed up. You will play the way you practice, so make - sure you practice it correctly! - - But this goes beyond just am I playing the right notes. This is where - tastefulness and discernment come into play. When I personally practice I am - constantly asking myself, "Do I like what I just played?" or put another way: - "If I was in the band recording this for a record, would I be proud of it?" - How does it compare to the original artists? Does it sound good? Is it good? - This requires that you have good musical taste and discernment! - - It's also very subjective, and I've found that there is a difference between - how things *feel* while you're playing, and how they *sound* as a listener. - So, one of your best practice aids is a small audio recorder. Record yourself - as you practice, then play it back and listen to yourself critically. Be mean! - This requires courage! You have to be able to say, "OK, that sucked, but I'll - get better." Don't quit playing. It can be easy to get drowned in all the - things you did wrong, but if you can learn to ignore how far you have to go - and focus on what--specifically--you can improve, then you are in a good - place. Comes back to humility. - - Here are some of the kinds of things that I have noticed in my own playing - when doing this: - - * My timing is off. - * I'm wrong on some of the notes in that run. - * It doesn't feel like it does when Y plays it. He sounds so smooth, my run - sounds jerky/stilted/not grooving. - * I'm not getting the dynamics quite right. - * He's playing some other stuff I missed when I first learned this. I need to - go back and re-listen again now that I know the line better to pick up - those subtle differences - * They're voicing this chord a little different than I am. - * The tone of his bass is different and sounds better in this situation. What - is it about that tone and how do I replicate that? Is he playing that part - higher on the neck? - - Then you identify how to fix that, and work on it. This is where a teacher, or - others can help. I'm happy to offer ideas about how to practice things - - The key is, you need to get immediate feedback and address it. Working with a - teacher is great because they can offer feedback based on their greater - experience, but to maximize the effectiveness of your practice you need to be - evaluating yourself as you practice. - -* pushes the boundaries of your comfort zone. - - If you are practicing something that you are already really good at then you - are not improving. The point of practice is to improve something. That means - you have to work on something that needs improvement. - - Howver, it is possible to overreach. You need to work something that is far - enough outside your comfort zone that you have to strecth, but not so far that - you can't reach it at all. We want to fail, but be able to learn from the - failures. - - You can and should adjust the difficulty of your practice on your own to find - the sweet spot. Too easy and you don't progress. Too hard and it's no fun, - it's frustrating, you burn out, and you don't progress. - - Learn to simplify. For example, if I'm learning a new song on drums, first I - may try to get the basic pattern and stick to basic fills. Then when I can - easily keep the tempo steady and navigate the fills without drifting from the - tempo, I'll learn the accents that the drummer who recorded it added. Then I'll - work on the specific fills they used. - - Or on bass, first I'll learn the basic bass line based on the chord - progression. Then I'll listen for alterations the original bassist added. Then - I'll work on unison runs they do. Then I'll listen for ornamentation that the - original bassist added and try to learn that. - - If I'm learning a run or a hard passage, I'll slow it down to where I can play - it comfortably. Then I'll bump it up 5bpm at a time until it's hard but - doable. Then I'll practice that, correctly. If it's too fast for me to play - correctly, I'll slow down until it is easy at the slower tempo and possible at - the faster tempo. Keep going until it is easy at the original tempo. Now I - have the lick, and more generally, I've added all the patterns from that lick - to my muscle memory. I can re-use the lick, or parts of the lick in other - places. Maybe I'll even practice that. - - Practicing time: practice with a click. Set the click to 1-2-3-4. Practice - your rythym. Now put the click at half the tempo, and make it only 1 and 3. Do - it again. Same tempo, but put the click on 2 and 4 now. Do it again. Half the - click again, only on 1. Again, only on 2, then only on 3, then only on 4. Take - these excercises and vary the tempo. How slow can you go (in small increments) - and still keep the tempo steady? How fast? It's not about showing off to - yourself, it's about pushing your boundaries. If you feel like you have really - solid time, push yourself more. Can you put the click on just the 8th after 1 - and 3? Move it around on other 8ths. 16ths? What if you combine these with - other excercises? diff --git a/website/index.md b/website/index.md new file mode 100644 index 0000000..75eb7c3 --- /dev/null +++ b/website/index.md @@ -0,0 +1,76 @@ +{"title": "New Life Introductory Band"} ++++ + +### What is the New Life Introductory Band? + +A new band format that is centered around persuing excellence through personal +preparation. We want to create a venue for intermediate singers and musicians or +those new to the repertoire. In this band format we do everything we can to +support the individual member's practice time. For every set we: + +* Have songs chosen a month in advance, +* Have accurate material available from the beginning in the correct key, +* Prepare the song order in advance, +* Not make changes to the song selection or material, +* Have an agenda for each practice, and +* Emphasize personal practice for learning parts. + +For band members we will have lead sheets with all the chord changes recorded +and any runs notated. For the vocalists we will have individual parts recorded. +For both we will have reference material. We want to make personal practice +time meaningful so we won't make changes that waste the time our members have +spent practicing. + +Our goal for every song will be first to be able to play it as well as the +recording. Of course it will take time to develop that level, but that is the +goal. First we will learn the music as it was written, and play it as close as +possible to the original. Once we know the song inside and out we may begin to +play with it as a band, but our first goal is to duplicate the professional +sound. + +Ultimately the goals of this band are: + +* To develop a new culture of excellence through preparation at New Life, +* Give new members an entry point to the New Life music program, +* Create a place for people to learn new skills (or learn a new instrument), + and +* Prepare people to transition to consistent playing in the regular rotation. + + +### Why are we starting this band? + +Our main band is optimized for experience musicians who already know all of the +songs we might play. We need new people rotating into the music ministry in +order to keep it healthy, but jumping directly into the primary band is not the +an easy task. We need a different format that gives intermediate players and new +members a chance to get up to speed with the music. That's what this band is +intended to be. We are not creating a new, separate band in the music program +but a new format to introduce new members and experiment with new practice +methods.. + +### When do we practice? + +We ask each member to find time during each week for personal practice. +Find the time that works best for you. It is worth the time to give our best +effort to the Lord. We're not going to make you keep a practice log, we trust +you to invest the time you feel necessary to thoroughly learn your part. Our +recommendation is that each member finds at least two hours during the week to +spend practicing their material or developing their skill on their instrument. +We will have practice together as a band, but this time will be wasted if we do +not each individually come having worked on our part. + +We will come together once every other week for an hour and a half as a band +to rehearse. If we have all been practicing our parts individually, then our +practice together can be efficient and effective. + +### How often do we play? + +Generally we play once a month, on the last Wednesday evening of the month. + +### How do I get involved? + +If you're looking at this page, we probably sent you here, and we're working on +getting you involved! If this is your first time hearing about the band and you +would like to get involved, please come find us before or after service. You +can get in touch with either Jonathan Bernard (coordinator for the introductory +band) or Alicia and Jerediah Montoya (music directors for the church). diff --git a/website/make_site.nim b/website/make_site.nim index e34276c..47f609c 100644 --- a/website/make_site.nim +++ b/website/make_site.nim @@ -9,25 +9,26 @@ # template and write an HTML file at the same relative path in the 'rendered' # directory with the same filename (extension changed to .html). -import os, nre, json, strtabs -import packages/docutils/rstgen +import json, nre, os, osproc from strutils import endsWith, rfind # Read in the template let htmlTemplate = readFile("template.html") let contentKey = re"<%CONTENT%>" -let rstExtRe = re"rst$" +let mdExtRe = re"md$" +let tempFile = "temp.make_site.md" # Make our output directory if necessary. if not dirExists("rendered"): createDir("rendered") -# Walk the directory looking for .rst files. +# Walk the directory looking for .md files. for file in walkDirRec("."): - if not file.endsWith(".rst"): continue + if not file.endsWith(".md"): continue + echo "> Rendering " & file var renderedTemplate = htmlTemplate - var rstDoc: string - let outputFile = "rendered/" & file.replace(rstExtRe, "html") + var mdDoc: string + let outputFile = "rendered/" & file.replace(mdExtRe, "html") let outputDir = "rendered/" & file[0..file.rfind('/')] if not existsDir(outputDir): createDir(outputDir) @@ -38,14 +39,17 @@ for file in walkDirRec("."): # Parse the front-matter (if there is any) if docSplit.len > 1: let metadata = json.parseJson(docSplit[0]) - rstDoc = docSplit[1] + mdDoc = docSplit[1] for key, value in metadata: let replKey = re("<%" & key & "%>") renderedTemplate = htmlTemplate.replace(replKey, value.getStr) - else: rstDoc = docSplit[0] + else: mdDoc = docSplit[0] # Compile the file into an HTML fragment - let htmlDoc = rstToHtml(rstDoc, {}, newStringTable()) + writeFile(tempFile, mdDoc) + let htmlDoc = execProcess("markdown " & tempFile) renderedTemplate = renderedTemplate.replace(contentKey, htmlDoc) writeFile(outputFile, renderedTemplate) + +removeFile(tempFile) diff --git a/website/s3-bucket-listing b/website/s3-bucket-listing deleted file mode 160000 index f1f7f31..0000000 --- a/website/s3-bucket-listing +++ /dev/null @@ -1 +0,0 @@ -Subproject commit f1f7f31058d3441fa06fa228d4d062b8f359174e diff --git a/website/schedules/2017-march.md b/website/schedules/2017-march.md index af20dbd..ad2b1e1 100644 --- a/website/schedules/2017-march.md +++ b/website/schedules/2017-march.md @@ -1,7 +1,7 @@ {"title": "March 2017 Schedule"} +++ -### Practices: +## Practices: * Feb. 7, 7-8:30pm, * Feb. 21, 7-8:30pm, @@ -11,20 +11,20 @@ Playing for service March 22. -### Songs: +## Songs: * Divine Exchange by Charity Gayle - - `on YouTube `_ - - `reference tracks `_ - - `lead sheet `_ + - [on YouTube](https://www.youtube.com/watch?v=iuUXY_wIJtY) + - [reference tracks](http://newlifeintroband.jdbernard.com/reference-tracks/divine-exchange-charity-gayle/) + - [lead sheet](https://static1.squarespace.com/static/541b0203e4b0eb59dea82d3e/t/5432c48fe4b03ad6ec047e9b/1412613263617/DivineExchange-crd.pdf) * Freedom by Eddie James - - `on YouTube `_ - - `reference tracks `_ - - `lead sheet `_ + - [on YouTube](https://www.youtube.com/watch?v=0noC8KAENSw) + - [reference tracks](http://newlifeintroband.jdbernard.com/reference-tracks/freedom-eddie-james/) + - [lead sheet](http://newlifeintroband.jdbernard.com/lead-sheets/Freedom-EddieJames-E.pdf) * Only King Forever by Elevation Worship - - `on YouTube `_ - - `refrence tracks `_ - - `lead sheet `_ + - [on YouTube](https://www.youtube.com/watch?v=FVygdWkcoMc) + - [refrence tracks](http://newlifeintroband.jdbernard.com/reference-tracks/only-king-forever-elevation-worship/) + - [lead sheet](http://newlifeintroband.jdbernard.com/lead-sheets/OnlyKingForever-ElevationWorship-C.pdf) diff --git a/website/schedules/2017-march.rst b/website/schedules/2017-march.rst deleted file mode 100644 index 1c3edcb..0000000 --- a/website/schedules/2017-march.rst +++ /dev/null @@ -1,32 +0,0 @@ -{"title": "March 2017 Schedule"} -+++ - -Practices: ----------- - -* Feb. 7, 7-8:30pm, -* Feb. 21, 7-8:30pm, -* March 7, 7-8:30pm, -* March 21, 7-8:30pm, -* March 21, 6:30-7pm (sound-check before service). - -Playing for service March 22. - -Songs: ------- - -* Divine Exchange by Charity Gayle - - `on YouTube `_ - - `reference tracks `_ - - `lead sheet `_ - -* Freedom by Eddie James - - `on YouTube `_ - - `reference tracks `_ - - `lead sheet `_ - -* Only King Forever by Elevation Worship - - `on YouTube `_ - - `refrence tracks `_ - - `lead sheet `_ - diff --git a/website/template.html b/website/template.html index c05c80e..f5c52b1 100644 --- a/website/template.html +++ b/website/template.html @@ -39,24 +39,19 @@ a:hover { color: orange; } font-size: x-large; } -#content h1 { font-size: x-large; } -#content h2 { font-size: large; } -#content h3 { font-size: medium; } +#content h1 { font-size: xx-large; } +#content h2 { font-size: x-large; } +#content h3 { font-size: large; } +#content h4 { font-size: medium; } -#content h4 { +#content h5 { font-size: medium; font-weight: normal; text-decoration: underline; } -#content h5 { - font-size: medium; - font-weight: normal; - font-style: italic; -} - #content h6 { - font-size: small; + font-size: medium; font-weight: normal; font-variant: small-caps; }