How to improve your mood

My roommate and I got into quite the discussion this evening. We were discussing some pedagogical ideas for his new mentee, someone who has admitted to "having trouble coming up with original ideas" and whose music (that i've heard, which isn't much) is strongly rooted in early Romantic style. What started out as brainstorming ideas (giving him crazy examples, getting him to write a piece without using standard notation, making him write something for my roommate who is a fine cellist, etc) turned into "well, what's this student been missing to want/need this at this point in his degree?" This led to "Well, we can design a composition degree that's awesome! at least better than what we had" (NOTE- I do not have an undergrad degree in composition. Mine was technically a BMA in general music, but it's 7/8's an ed degree...so I compared it to what the general music degree was designed for at DePauw, which I thought was a great starting point).

Because I'm insanely confident, being a master of all things pedagogical, here it is!

• Theory I-IV 3cr each (Should span 17th century counterpoint basics, 18th century counterpoint basics, tonality and vertical harmony, and 20th century techniques)
• Aural skills I-IV 3cr each (same as above)
• History Overview I-II (early through romantic) 3cr each
• 20th Century history 3cr
• Intro to Seminar Research topics 3cr (think a research style class, but focused on a seminar topic instead of disassociated from anything)
• Conducting I 3cr
• Orchestration 3cr
• Instrumentation (choice of 2, Woodwind, Brass, Strings. If playing one of those families, must take other 2 families) 3cr each
• Primary Instrument I-IV 3cr each
• Comp (8 semesters) 3cr each (final semester is prepping a concert)
• Keyboard I-IV 1cr each (Until proficiency is passed. if passed early, fill in credits elsewhere. If not passed after 4 semester, can transfer into private piano for 1cr until passing)
• Class Voice 1cr
• Large Ensemble (6 semesters, credits not counted into total)
• Small Ensemble (6 semesters, credits not counted into total)
• Recital Attendance (every semester, 12 recitals)
• Counterpoint I-II (17th/18th/19th and Contemporary) 3cr each
• Techniques of Electronic Music I- Digital Audio 3 cr
• Intro to Writing/English Comp I 3 cr
• Foreign Language I-II (Fr, It, Ger) 3 cr each
• 24 credits of liberal arts/area of concentration (tracks would include Electronic Music, Literature, Science, Computer Science, etc.)

By my count, this comes to around 131 credit hours, or about 16.375 credits per semester (not counting ensembles, of course)

There are some oddities: The intro to Seminar Research is a class my roommate and I have never encountered, but after a heated discussion about seminar classes in undergrad, decided the hybrid was an interesting choice. I conceded my "TONS OF SEMINARS!!!" to his "NO ONE DOES THAT!!!"

The instrumentation class is my idea- it's based on the ed style "techniques" classes, but instead of focusing on pedagogy, it's a survey of families including learning basic playing technique of each along with basic writing skills for them. I found my techniques classes invaluable as I got further into orchestration- having picked up a clarinet, i know what it's like to do some of those leaps, or thanks to learning a little cello, i can "bow" passages and understand how the phrasing won't work how I want it to. All from basic classes. Totally worth it.

We limited primary instrument to 6 semesters due to senior year being hardcore prep for a senior composition recital of around 1 hour of music. That more than makes up for not being in those lessons

The 1 Techniques of EA Music i fought for. It's important to get composers at least introduced to the hardware and software for working creatively. Then they can fill out an area of concentration in EA Music (maybe I'll make that later? LOL). I still like the idea of EA Comp degree, but that's for later. LOL. it would also give students an intro to editing, which is hugely important in a practical manner.

And the not really liberal arts? It comes down to classes. Ever seen "Physics for Presidents?" or "Intro to Ecological Ideas?" Yeah, BS classes for people to fulfill their credits. I see the trend and I say "why not make students focus on an another area?" Theoretically, I think it will better serve students than the low-end "use this to fulfill your credit" type course.

Though, at our highly esteemed Theoretical Conservatory of Awesomesauce, no such classes would exist. It's fun to dream...

So, thoughts? What do people think about this collection of classes and break up of things? What's missing? What's not focused on enough? GIMME SOME LOVE!!!

In Honor of John Cage

Tension, release, but not release into a nice major chord, but a bursting forth f the built up energy.

Talk about magical wisdom. It's all about how we listen, what we listen for in a conversation. The other quote I grabbed from Ethan Iverson giving a great discussion of why competitions aren't great for art: especially a performance competition of Jazz.

Well it means quote 1 sticks into quote 2. If I listen to all the wrong parts of what I'm being told, it means I compromise the idea of quote 2- I write for a judge. If it gets me an award, then it's worth it." Listen to the part that says "Write the best music you can, get a nice recording, and send it out. So listen to the whole sentence, and work for your love of what you do.

• 8 premieres (yeah, that's right, i wrote one piece that wasn't a commission. go figure. 1 international paper presentation

"work must contain a song from "

I also performed on 4 more pieces during the course of the night. I've been going through the recordings, cleaning them up, etc. It's still pretty stressful hearing your music performed, whether for an audience of 5 or 500. 2 days after the performance, i worked on the recordings a bit. Nick Howell's solo on Hunter Long's "This Self-Imposed Abyss" sounded good to me then, but i was busy counting and playing backgrounds. We play a lot louder in concert and lose some of the dynamic contrast we worked hard on in rehearsal.

4. Some was a nervous, forward pushing energy; some was a relaxed, focused energy. Most performers strive for the focused energy, but something can be said for the nervous pushing energy. LOL. Over the past month or so, I've been slowly updating my website, CV, list of compositions, etc.

I've sat in my fair share of coffee shops. A pleasant conversation would ensue, then we'd part ways. Russell Kirsch.

The first is about the performers relationship to music, especially the process of learning a new piece. It's something I've hit on before (repeatedly, forcibly) in conversation- complex pieces are rewarding endeavors, and there is much to be gained by focusing on learning the piece. The next couple are about listening. Well done, Brian Ferneyhough.

"We need more audience for jazz, and the way to get that audience is not to play jazz correctly. Iverson also tosses in a little dig against competitions in the classical world, at least in sense that they don't work well.

• Kick-off Concert for ArtSounds

So far, I've done well with submitting.

"Only accepting pieces of 1-4 performers"

"No piece over 15 minutes will be accepted"

"Pieces under 10 minutes will be given preference"

Put stuff up as it comes in, even if you're busy.

• A piece "broadcast" as a part of an online edition of a literary magazine

• 5 commissions

• A commission and release by a record label

Took a very long train ride a couple days ago. First was meeting a man named Chris. Ligeti String Quartet 2, Ferneyhough String Quartets 2, 3, and 4. I've always disliked pieces starting with grand pauses. Pitch, rhythm, timbre/orchestration, energy. Man, does Ligeti nail nervous. the rhythm speeds up, the dynamic ebbs and flows, but never above quiet.

After writing two new pieces this summer, I've started up a third. The first two played with new (to me) pitch organization systems. Ferneyhough, Brian and Boros, James. Perspectives of New Music, Vol. 28, No.2 (Summer, 1990) p 6-50.

"works must be influenced by "

So, where's the creativity? Are composers meant to just create pieces for these performance opportunities? I just described a solid 3/4 of the submissions I've seen. Toss in spending a nice chunk of change just to submit, and, well...it's a little depressing.

I've submitted a piece that's mostly improv, and while the call doesn't say "no improvisation," that's one of the subtexts in many calls. And i've spent $30 so far.

If I do that well, I have a better chance of winning. Of course, if you're pushing for your own path, it's hard to find that competition.

I'm playing the game now. I'll keep playing the game, while doing my own thing outside of it (i've got 2 performances lined up in town).

Marvin Hamlisch was a different breed of masterclass presenter. Hamlisch wasn't afraid to state his opinion of a piece, drive right to the heart of the matter. Hamlisch's musical output was prodigious. He was decorated, worked as a pops conductor, and accomplished great things for musical theater. Hamlisch will be missed for his musical works and his conducting. Fare the well Marvin Hamlisch

Rhythm starts slow, speeds up, burst forth. Simplicity- a straight forward idea executed perfectly.

intervention

Ok, seriously, i need one. I think i'm done, for now anyway.

here's the gear list i've purchased

Soundcraft Spirit Folio 16 (16 mic channels, 4 stereo channels, sharing 2 faders, 4 bus, 3 aux, Direct Out on the first 8 channels, one bad insert) $125

Oktava MK219 large diaphragm studio condenser $65

Presonus Blue Tube microphone pre-amp $105.75

Sennheiser MD280s- $108 (after tax)

Sony MDR-EX56LP ear plug style headphones (general listening/basic monitoring- $37

Event TR5s-$150.50

AND there is a possibility of landing a pair of Yamaha HS50s for $90 a pop. and they are in perfect working condition (i trust the guy selling me these WAY more than just about everyone else i bought from. heh)

and i still have some needs. I wasn't looking to turn this into a real project studio, but, it's turning into that. here's what i still want/need

Quad Core XLR cables (25' lengths is fine, say, about 6 of them.)

4 Gold Plated 1/4 patch cables (for the monitors...though i'd prefer only gold plating on ONE side, but that's beyond the point...fusing issues, basically)

mic stands (all preferably boom style)

Pop Filter (preferably metal, though i'll prolly end up with a mesh one)

1 vocal tube microphone (haven't decided on any brand yet. keeping my options open)

a matched pair of pencil condensers (Oktava 012s with all capsules is my preference here)

1 stereo ribbon mic (ok, this is just insane. lol. i'd love Royer SF-24, but i'd take a Cascade X-15, if it sounds good.)

1 cardioid ribbon mic (Beyer Dynamic M500. period. i will get one, someday)

1 vintage microphone (a Shure 55 would be cool, or an RCA ribbon style mic- which would be insanely expensive)

anyway, as you can see, i've spent about $550 already. WTH?!?!? this is really bad...seriously...AND the cables and a mic stand or 2 i HAVE to have. i can do without the other mics, and the pop filter. at least for now, on the pop filter. Once i start the trip-hop album i'll need it to record the vocals.

Still, this is all quite insane. i'm NOT a real recording engineer. this money is definitely NOT a waste, that's for sure, but, yeah...it's just expedites the whole "get a job" thing. as in, as soon as i get back from NYC in april, i will HAVE to get one, i think...if not find a way to make some money before that.

anyway, as for MUSIC! oh yeah, i'm a composer. sometimes, i forget these things.

6 Pieces After Basho is almost finished. I took the afternoon off to, um...spend a lot of money...but i hope to finish tonight. hopefully i can get to Nevada for the performance, or maybe convince the Wind Ensemble director here to give them a reading. that'd be pretty cool.

movement 5 is incredibly simple and probably the hardest piece to perform in the lot. in fact, it IS the hardest to perform. it basically comprises of 3 notes, F, Eb, and E. these notes are passed around the woodwinds until the brass enter...HUMMING. yep, humming. Dissonance. there are some other notes, in the high Vibraphone and the orchestra bells, but they are cursory. really, i just put them there so that there'd be a bit more going on. I REALLY can't wait to hear this movement performed. I think, if done well, it'll send chills down everyone's spine. what i hear in my head does it to me.

as for the last movement, it's a lot more traditional. very traditional. lots of doublings. only a few different lines going on. might use the timpani even. lol. The end will be fun, as i've decided to do some canonic writing. it may end up just being imitative counterpoint, but i might turn it into a real canon. I'm going to avoid going full blown fugue because 1) i don't think there's time for it to develop and 2) that'd be a bit too hard to follow really. it's not an easy form to play, at all.

anyway, this is a long post. I haven't posted in quite some time. Sorry about that. life got in the way a bit. I'll try to post regularly again, but there's a good chance this slows down to once every few days. heh. i knew i couldn't keep up everyday. however, the eating meals at home part is still going quite well!