Butterflies Inside

finding freedom to change

Butterflies Inside:Finding Freedom to Change

 

finding freedom to changeI feel myself on the edge of better things

Close to giving all my wishes wings

Change for some comes fast and furious

For me it’s slow and hidden in the chrysalis

 

 

In this song, I sing about change as something that comes quickly for some but slowly for me, like the slow changes hidden inside a caterpillar pupa.

Aren’t you glad I didn’t sing that word, ‘pupa?’

Instead, I chose the slightly-less-awkward ‘chrysalis,’ which is what entomologists call the hard case where the transformation from caterpillar to butterfly takes place.

Entomologists say it is the stage of the life cycle in which the caterpillar’s body tissues break down and the butterfly’s tissues form. I can relate.

I am a chrysalis. Here in my middle age, I feel somewhere between young and old, breaking from foolishness and moving into wisdom. In this transitional phase, my growth toward maturity is hidden inside a rigid little case. I witness no wizening even when using my magic magnification mirror. I only see the imperfections of the specimen. It can be frustrating at best. Infuriating at worst.

Looking For Change

I enjoy uncovering the origin of words — their etymology — so I surfed a few sites and found out that ‘chrysalis’ means ‘gold’ in Greek and Latin, which refers to the gold sheen of some butterfly cases.

I envy etymologists who get to study words and their histories all day long. Digging up meaning like precious metals, they reveal the richness of the words we inherit.

Having gone through the metamorphosis of time and human use, words become tools for transmitting vivid and multi-faceted messages, implications, interpretations or connotations. See what I mean?

They shine a light on the mundane parts of life.

In my case, I feel kind of unremarkable — rather ordinary. Getting older has lots of advantages but I have a love/hate relationship with it. Being somewhat invisible shakes me to my foundations.

I’m opaque as a butterfly chrysalis. But I am becoming free to change shape. And when the light is just right, there’s a golden sheen on me with hints of my future in the midst of my incompleteness.

finding freedom to change

Finding Freedom to Change

My husband and I are officially empty-nesters this year. Our youngest, Chloe, is about to graduate college and her summers of coming home are over.

Parents have experienced this change in every generation. My mom suffered through it. But now it’s my turn and it is all new to me. I imagine I should be better at adapting. But like the cooling temperatures signaling the season’s change, these shifts surprise me every time. I don’t want to say goodbye to summer.

When I reflect on this shift, a sadness settles over me. Like birds gathering in the trees, it’s a slow dawning that something’s coming, something else. Could it be something good, as precious as the past?

Change Is Good  finding freedom in change

On a recent August morning, Chloe and I were on the lawn enjoying the bugs, birds and butterflies we love so much. It was her 21st birthday. She was visiting from her college town in which she’d decided to live for the summer. We sat under the trees with our coffee and I cried: about her being 21 and me seeing the time slip by. I wasn’t trying to make her to feel bad. I was setting my emotions free instead of bottling them up. Besides, part of our relationship is the safety of us taking turns crying together.

Signs of Change

I see myself in the mirror of His face

Reflecting imperfection but the change is taking place

This for some comes fast and furious

For me it’s slow and hidden in the chrysalis

I used to journal regularly. I have discontinued this practice because of what happened whenever I read back a few years: I would discover that nothing was different — I wasn’t changing, but writing about the same issues over and over. It felt pathetic and made me mad. I let a few diaries fly across the room.

I know I am not truly stalled in my evolution into God’s perfect design for me. It just feels suffocating to grow older with no cracking open. I don’t feel any wings forming back there. Just those tense, bony shoulders rising up around my ears.

Every now and again, though, there’s a little flutter in my stomach. My prayers and petitions for positive change have made a difference in me.

  • Like when I haven’t worried about my kids for days on end.
  • Or when my first thought is love for my neighbor even when she’s less-than-friendly to me.
  • Or when I feel gratitude for an empty house because there’s more room for rest and reflection.
  • Or when I recognize my particular suffering as necessary and even good.

These tiny signs of life are moving through my soul and finding their way out. I’m not bottling them up. Thanks to the entomologists and etymologists, I’ve got lovely metaphors for the changes taking place. I’ve got butterflies inside. Lifting from my lips, they learn to fly.

I’ve got butterflies inside

Forming in my mind

Moving through my soul, I know they’ll come alive

These butterflies inside

Flutter in my heart

Lifting from my lips they learn to fly

Listen to Butterflies Inside here!  More like this : “I Wanted My Dog Dead: Practicing Compassion”

5 New Songs: Closer to Free!

finding freedom change

New Music Means Room to Grow

I am always so excited to be in the process of recording new music. Unrecorded songs seem small and shapeless in their infancy. When I handed these 5 new songs of mine, just tiny demo recordings on my phone, to my producer, I recalled ttall treehis process from years gone by.

Every record that Scott and I worked on together, whether as Out of the Grey or my solo projects, began in this way. Baby songs ready to be born and begin to grow up. What fun when players and producers and engineers join the mix. It was exciting to see what my babies would grow up to be. They just need some extra love and attention to make them grow.

Perils of Vulnerability and Creativity

Songwriting is fraught with the perils of vulnerability and creativity. The hardest part of the process is the initial sharing what I’ve done with others. Others who have their opinions and judgements and their own creative ideas. In song meetings with the record labels, I felt like I was lining up my children for scrutiny. Do you like this one? Isn’t this other one amazing? No, you want to move on to the next one already? The producer would then have his say on how best to dress the chosen ones before launching them into the world. It was exciting and exhausting too. I have a chapter in my book Lifelines all about the recording process.

New Music With a New Producer

This time the situation is a bit different. I do not have a record label. What I do have is a new producer with lots of new ideas.
I know him as Julian Dente.

julian dente YOUTHHe is my firstborn and he grew up in the studio, on the road, and at home making music. These days he’s a young man recording his own new songs and adding brilliant touches of creativity to the world.

I decided to hire him before he gets too busy to work with me. He co-wrote and produced 3 songs on the most recent Out of the Grey recording called A Little Light Left. I love his sonic style and I think you will too. The tracks are done and the music is exclusively digital. You can download them here or find all 5 on Spotify and Google music.

~Christine

 

P.S. Julian definitely has his opinions and judgements and suggestions for making my songs better. How can I stop being Mom and let him tell me what to do for once? This is getting a bit tricky!

 

 

Bubble Girl: The Story Behind the Song

painting of girl in a water drop blowing bubbles and hair swooping upward

Story Behind the Song

The “Bubble Girl” song is from the latest Out of the Grey album titled, A Little Light Left, by Christine and Scott Dente.

Click here to see the lyrics or view them at the bottom of this page.

Bubble Girl #1

This girl is an amalgam of sorts. Parts of our 2 daughters and our 6 nieces combine to form the lead character of this song. Chloe, our youngest, was the first inspiration for this idea. When our oldest daughter, Carina, was 16 years old and thinking about college, she, Chloe and I visited a few universities within driving distance of our home in Nashville, Tennessee. One of these was a small Christian college only 100 miles away.

The lovely campus impressed us as did the friendly professors and students. But something was bothering Chloe, then only 14. Something about the atmosphere of the place. “It feels like a bubble,” she said. She was referring to the monochromatic buildings and rooms which seemed a bit stuffy and a little too perfect. Also, the combination of the isolated campus and the compulsory chapel attendance added to the constricted atmosphere.

Later, while driving home, Chloe added that the student body did not look very diverse. She did not think this college would give Carina a chance to interact with a variety of people. I was surprised at how much she had absorbed in such a short visit. Yet Chloe did and does have an acute sensitivity to such things. Carina ended up at a different Christian college after graduation and Chloe, two years later, went to a medium-sized state university. Even there she felt the “bubble” at times and often left campus to meet her need for diversity by interacting with little kids and older people.

Bubble Girl #2

girl with purple hair blowing bubbles falling downward in a blue water drop as her hair swoops up
painting by Magdalena Youmans

My second inspiration to write this song came from a painting by my niece, Maggie. She is my sister’s youngest daughter and her painting, as you can see on the right, depicts a beautiful girl encased in a blue drop of water. Her hair is sweeping upward as she sinks downward, blowing bubbles as she goes.

When I first saw this watercolor, I tried to imagine how teenage girls must feel at times. The girl in the painting evoked isolation and loneliness, like someone cut off from the bigger world. To me, she was a young girl wondering what life held for her. Like a drop in the pond or a frog on a frond, this girl in the teardrop, blowing bubbles with her eyes closed, might be imagining a bigger world.

Maggie’s painting was a poignant image for me although I may have read more into it than she intended. In fact, “Bubble Girl” is my title, not hers.

Bubble Girl #3

Some of my other nieces seemed to be in a hurry to grow up, graduate and get out of the house. I remember myself as a teenager, always looking for what was next instead of enjoying the here and now of being a kid.

It seemed to me these young ladies wanted to leave home before knowing what was on the other side of the gate. I saw a rocky place ahead. Did they see a sweet escape instead?

I wanted to slow them down, tell them that growing up comes soon enough. Unfortunately, most of us don’t have ears to hear beyond the moment in which we are living. Especially teenagers. How can she know what she don’t know? She’s gonna find what she’s gonna find.

Bubble Girl #4

Another perspective for the song came from the fact that all of these girls were mostly educated at home. Homeschooling parents often operate from a protective and — dare I say — controlling nature. I will speak for myself: I didn’t want my kids to grow up too quickly and get stained by the world any sooner than necessary. Like most parents, homeschooler or otherwise, I wanted to keep them safe and delay the inevitable crashing on the rocks. (Also, I think education is about so much more than most schools are offering these days but that’s another story.)

On the other hand, the stigma of being different has affected my kids and my sister’s and brother’s kids in some negative ways. In writing Bubble Girl, I attempted to see the many dimensions of the bubble beyond my limited perspective. Those girls are mostly grown up now and are making their splashes in the world on many different shores. If I had to live it all again with them, I would definitely change a few things. If I could cure loneliness and alienation and help in the search for significance and connection, I would do it! I But at the end of the day, I would still be saying, “take your time, take your time.”

Bubble Girl by Christine and Scott Dente

Bubble girl doesn’t want to be here no more
Wants to make her splash on a distant shore
Like a drop in the pond
Just a frog on a frond
Bubble Girl wants a bigger world

 

And what she don’t know, she don’t know
What she’s gonna find, she’s gonna find
tell her for me to take her time, take her time

 

Such a girl can’t hear what we have to say
Got water in her ears, eyes a dreamy haze
like a tear on her cheek
Lonely stone in the creek
Bubble Girl wants to break away

 

What she don’t know, she don’t know
What she’s gonna find, she’s gonna find
tell her for me to take her time, take her time

 

we see a sweet cocoon
she sees herself marooned
we see a rocky place ahead
she sees a sweet escape instead

 

She don’t know what she don’t know
She’s gonna find what she’s gonna find
tell her for me

 

What she don’t know, cos she don’t know
What she’s gonna find, she’s gonna find
tell her for me, ask her for me
to take her time, take her time

The Recording Process #2: Comping the Lead Vocals

Christine Dente and Julian Dente in the recording studio

Comping Lead Vocals:The Studio Magic

Christine Dente with producer, Julian Dente, both wearing headphones during vocal comping recording lead vocals.
I take a quick photo with my producer, Julian Dente, during vocal recording.

 

Have you ever wondered how the finished vocals that you hear on a recording can sound so flawless? Do you stand amazed at the perfect pitch most singers seem to have these days compared to, say, recordings from the ’60’s and ’70’s when the singer occasionally went sharp or flat? Maybe you’ve already heard about tuning the vocals and other tricks toward perfection, thanks to the age of digital recording.

There’s another tool for optimal finished vocals that I have used when recording my songs. It’s called vocal comping and I want to describe how it works.

But first, a few definitions:

The Dictionary

  • Lead vocals: the recording of the singer singing the song several times, usually toward the end of the recording process.
  • Takes: the individual recorded vocal tracks, saved digitally for later use
  • Tracks: separate recordings of instruments and voices saved digitally
  • Tape: the old medium for recording our first Out of the Grey records in which sound did actually ‘go to tape’ that could hold multiple and separate tracks of recorded information. Now recording is mostly digital/computer-based.
  • Tuning: auto-tune is computer software that can correct pitches digitally with minute precision. Sometimes this is used as an effect in itself, creating that robotic, digital vocal sound in pop music.

The Tracks

As I described in my previous blog about singing lead vocals, I usually sing the song from start to finish between 5 and 10 times, after my voice is warmed up. I will warm up somewhat before entering the vocal booth but mostly my voice hits its groove when I sing on the microphone as the engineer works on getting the best sound.

Recently, I recruited my son, Julian, to produce 5 new songs I’ve written. We started recording my lead vocals after he had created instrumental tracks for the songs. He did this by programming some parts using his computer and also by playing and recording keyboard and electric guitar parts. Putting this all together from the song demos I had given him, he made some beautiful music.

The Takes

sound waves show my vocal tracks on the computer screen comping recording lead vocals
sound waves show my vocal tracks on the computer screen

The photo above shows us after recording multiple takes of me singing the entire song along with his tracks. (Julian was both producer and recording engineer in this part of the process.) In singing the leads, I usually perform the song in much the same way for the first several takes. After I feel I’ve gotten what I want from the song, I use the next takes for experimenting. I’ll try changing up the rhythm of a word or phrase, knowing I might want an alternative to the way I initially sing it. Maybe I’ll try a slight melodic change to add flavor and choices for the next phase of the process. Julian will suggest changes as well.

After this, we have a sense of whether or not we’ve recorded what we need for the lead. For example, I know I keep singing that word “things” flat and out of time. I’ll sing it again and he’ll punch me in on just that word, recording only that split second in the midst of the phrase.

As another example, he may tell me that a melody I’m singing doesn’t seem to work with the guitar part. We may go back and try a slightly different melody a few times, finding one that fits. Here’s a 24 second video of us listening in the Dente home studio.

 

The Tool

Vocal ‘Comping’ means compiling all of the recorded vocal tracks to create the best lead vocal on one track. The final performance could come from mostly one track. It may have had a lot of good elements because the singer was in ‘the zone’ on that one particular take. Or the lead vocal could be created from bits and pieces of multiple takes, cut and pasted together with ease on the computer.

Listening through to 5 or more takes plus any extra verses and choruses can be tedious. However, there is usually gold buried in the layers and now it’s time to dig it out. Sometimes the singer is happy to leave and leave the comping up to the producer and engineer. Julian and I decided to do the comping together right after we recorded all of the lead vocals on my song, Butterflies Inside. Listening to the takes line by line, we made quick decisions about whether or not it was a good performance.

paper with markings showing check marks or x's on various lines Exhibit A

Usually I use a printed lyric sheet to mark up and keep track of what words and lines sounded good on the track we are listening to. This time, however, Julian and I each started with a blank page and blocked out the verses and choruses using columns for 4 or 5 takes in a very loose grid. As you can see in exhibit A to the left, it’s a shorthand way to listen and make quick decisions. I used X’s to say, “no way, that sounded terrible!” and I used a √  to say,”hey, maybe….”  I circled some words I thought were good in the midst of a phrase that was not keeper.

Sometimes Julian and I agreed perfectly on which track had the best line in this or that part of the lyric. Other times he had an entirely different idea of what was good. He might choose a phrase that I thought less-than-perfect but he wanted to keep it for its tone or its texture.

Julian would cut and paste as we went through the song, comping our favorite performances together. For example, perhaps the first verse used most lines from track one with a few words pasted in from track 5. The chorus may be more pieced together because I sang it inconsistently. Verse 2 saw a good performance all the way through track 4 so that’s a keeper. He put it all together as we went, using software magic and engineering skills like cut-and-paste and cross fades. The finished lead vocal track became (almost) the polished performance that we hear in our stereo speakers. Next come the background vocals. More about that later.

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Thanks for listening,

Christine

The Recording Process #3: Singing Background Vocals Part 1

recording vocals, little terrier, Josie, the family dog, wearing headphones

The Recording Process —BGV’s By Definition Part 1

 

Starting It Up

Have you heard about background vocals, or BGV’s for short? Back Ground Vocals are often the final task and one of the hardest parts of the recording process. Once the artist, producer and players have recorded all of the tracks, the overdubs and the lead vocals (read my blog post here ), and after they have comped the lead vocals (read that blog post here), BGV’s become the finishing touches. They answer the question, “What else does this song need?”

Because that answer is elusive, the decision on how many background parts to add and where in the song they should be, becomes all important.

Making It Up

a woman's beautiful red lipstick lips

I imagine adding BGV’s to a song is like a woman dressing for an evening out. After choosing her clothing carefully, fixing her hair to perfection, she makes the final touches by putting on make-up to enhance her beauty without drawing attention to itself. How much mascara, eyeshadow and lipstick? Does the eyeshadow enhance her eyes or distract from them? Too much color here and it draws our eyes to that particular instead of the whole face. Her make-up should complement and not compete with her beauty.

In my opinion, BGV’s must serve the beauty of the song without attracting too much attention to themselves.

Backing It Up

I’m a big fan of singing background vocals. It’s so much fun! In fact, I have sung background vocals on my own solo projects as well as our seven Out of the Grey recordings. I have also sung on commercials and other artists’ projects. Given my experience with BGV’s, I would explain the process with a few categories:

  1. Doubles
  2. Stacks
  3. Vocal Padsboy in profile belting into a studio microphone
  4. Harmonies
  5. Call and Response
  6. Counter Melodies
  7. Gang Vocals

1. Doubling the lead vocals is quite common and you’ve heard it without knowing it. What happens is this: the singer sings along with their lead vocal, matching their own melody and inflection as closely as possible. This recorded double fattens the sound of the lead vocal track. Because this new track is almost identical (if the double is really good) but not perfect, it adds a great effect heard in lots of pop music. For example, in All We Need from the Out of the Grey Diamond Days record, the chorus lifts because of the doubled lead in addition to the harmonies.

2. Stacking the vocals means adding more than just a double to a certain vocal track. Some stacks are 3 or 4 or even more separate tracks of the same melody being sung. This creates a very big sound but can also detract from the lead vocal itself. Stacks are most often used to form a layered sound that vibrates beneath and supports the lead vocals. Here’s an example of a stack-happy lead vocal: “The One I’ve Been Waiting For.”

3. Vocal Pads are often “ooh’s” and “ah’s” that the background vocalist sings and stacks with layered harmonies. These thick pads of sound often underpin the lead vocals. They fill out the sonic landscape and support the lead vocals. The chorus of “Not A Chance” has some nice ‘ahh’s’ for padding.   

4. Harmonies are those vocal parts that the singer adds beneath or above the melody. They are often just a single track and grab a line or two of a verse. We find a lot of single harmonies in pop song verses. For the choruses, producers commonly add more harmony parts as the song builds. This creates dynamic growth and interest, especially in the out-choruses at the end of a pop song. In “All We Need” and “Steady Me,” I added high harmonies in the choruses.

In “Bubble Girl,” from the latest Out of the Grey CD A Little Light Left, I am singing low harmonies in the second verse which subtly enhance that part of the song. Notice how low the volume is on these harmonies so as to be an underpinning and not a distraction.

To be continued: In my next blog post, I will talk about categories 5, 6 & 7 from the list above.

,

Summing It Up

Singing BGV’s is an exciting part of the recording process for me. I like the challenge of blending with my own vocals. Also, when I am invited to sing for other artists or commercials, I get the chance to test my skills in a different way, like matching another’s voice or singing the parts exactly as the producer directs. I especially enjoy the final result: a finished song that was nonexistent before the start of the recording process.

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