Archaeology

Recently I took a look around my study and decided that after three years of having part of my study floor clogged with the stuff from my office at the Presbyterian church, it was time to stash it. I bought a big old plastic tub and tonight I began sorting.

What seemed to take up piles and piles on the floor, plus a great big box, collapsed rather neatly into a few small piles in the tub. I took the precaution of creating a word processing document (searchable via my laptop’s indexing) which lets me know what I’ve stuck in there.

Some surprises as I worked through the piles, like the mantel clock which was a gift from the cast of Lying In State, the world premiere comedy we did back in 1998, nearly ten years ago, folks! That will go to school with me.

I also found a great many of the original scores for all my early stuff, all the One Fish Two Fish pieces, plus the Symphony for Band in C minor. And there were all my notebooks.

Back in the day, before the computer would allow me to write my music, and play it back, I had to do it all by hand. Shockingly primitive, I know. But music paper was hard to come by, and so whenever I came across notebooks, I’d buy all I could and hoard them. Most of these notebooks are mostly empty, with various projects grouped here and there in them: Christmas Carol, some anthems, a snatch of William Blake here and there.

After getting the tub loaded, I went through all these notebooks, even the juvenilia from the early 70s, and played through everything in them. Most of it was sketches for stuff that either worked out and got used, or was terrible and should have been erased, but there were some bits and pieces which were nice enough to salvage for new projects. I found some lyrics (for what, I have no idea) that will be used in Day in the Moonlight, and I found more than few fragments of music that will show up either in one symphony or another or in the Stars on Snow album. I even found some themes from an early idea for a symphony that actually still resonate.

So it was not exactly what you’d call a productive evening, but it was fun and a little bizarre to dig back through my early, mostly incompetent self. I had some good ideas, but I was clearly clueless about how to develop most them. Although I will say I found one or two babysteps that showed I had a clear understanding of structure even then.

Anyway, I’ll be putting all those fragments into Finale files so I can stash them away for future pilfering.

In other news, Lacuna sang the complete Visit to William Blake’s Inn last night as the special guests of Barnes & Noble. It is most likely the last time Newnan will hear the piece. Unless someone prominent steps up in the next two weeks to be in charge of the Organizing Committee, I’m going to start shopping it around to other places.

The performance was very nice indeed, give or take one or two King of Cats solos being fluffled. I’ll miss working with the chorus.

Tale of the Tailor

I’ve been wrestling with the new version of Finale all week, trying to get it to work as expected and/or advertised, so that I could get Blake Tells the Tiger the Tale of the Tailor orchestrated for this Tuesday night thing at Barnes & Noble.

We were asked to sing A Visit to William Blake’s Inn at the opening party for the new Barnes & Noble, so I said yes, and my intrepid octet has been working very hard to re-polish the work. I decided it would be as good a time as any to go ahead and orchestrate one of the two remaining pieces.

However, I didn’t count on the new Finale being such an incredibly opaque piece of software. I will not bore you with all the details, but it has been right up there with working on an actual Windows computer. I have three different Garritan libraries, and none of them were doing what they should be doing, in this case allowing me to notate the strings as playing pizzicato, and they actually do that in playback. Hadn’t been a problem before, but now it was. No combination of libraries or instruments worked. I was halfway through the piece when I decided I had to do something.

I decided that it must have something to do with opening a piece done in Finale 2007, the piano score (which actually had originally been done in Finale 2006) and copying melodic lines over to the orchestral arrangement. So I started a brand new file, which seemed to make the program happy. That was this morning. It took me all morning just to get back to the halfway point, just putting in the music I had already done.

Late in the afternoon, I tackled it again, and shortly before I had to pack up and go to our final rehearsal, I finished it. It’s clunky in more than a few spots, but at least it will work for Tuesday. Parts of it are already nice, but on the whole, I don’t feel I have as much control over the sound as I did with the Finale 2007 GPO. I’m sure the company would tell me that I have a lot more control, but what I’ve found over the years is that having all that control usually means that you are forced to dig deeper into the program’s innards to gain it.

At any rate, here it is.

Leadership

I haven’t written a lot about our political situation because I might have to start actually ranting. Let’s face it, Microsoft’s crimes against humanity are nothing, nothing, compared to the current administration’s. For one thing, the current administration’s crimes are actual crimes that could be tried in The Hague with some degree of success, not to mention the intriguing daydream of public execution. And I’m not even talking about the high crimes and misdemeanors that could be laid at their impeachable door.

Their whole mise-en-scene these days involves staying in Iraq. Something blows up and kills people: it means we need to stay. Something goes moderately well (only 150 people died instead of 155): it means we need to stay. The insurgency is swelling: we need to stay. The corrupt sheikhs of Anbar have been paid off to turn against the insurgency: we need to stay.

At no point does anyone in power, either the scumbags who got us into this hellish situation nor the Loyal Opposition, say, “You know what? I think it’s been one six months too many. What say we cut our losses and bring our army home?”

Will Iraq collapse if we come home? As compared to, say, what it’s doing right now? Just today, the “progress” on the sharing of oil revenues went south. Oops, there went the political progress we’ve spent how many lives and how many billions of dollars on?

Some say Bush should call for new elections. Parse that one for a moment. Bush should jerk the rug out from under the duly elected (we all saw the purple fingers, right?) government of the country we’re occupying? That should set well with the insurgency. George W. Bush cannot even run this government, much less the non-government of al-Maliki.

Okay, I’ll stop there, or I will go mad.

What prompted all this, besides the recent barrage of lies and half-truths, was a brief into today’s Times about Russia:

The governor of a central province told employers to contribute to a Kremlin campaign to boost the birthrate by giving couples the day off to have sex… This is the third year the Ulyanovsk region, famous as the birthplace of Lenin, has dedicated a day to encouraging couples to produce more babies. (NYT, 9/13/07, A6)

I mean, don’t you wish our leadership was as innocuously inept?

Oh dear

I’m home alone, and after giving up on a glacial Onegin (Ralph Fiennes and Liv Tyler), I was flipping through channels. I stumbled upon Disney’s High School Musical 2. I threw up in my mouth a little. I stopped flipping through channels and turned off the television.

Musings

I was minding my own business today reading the NYTimes, when all of a sudden, in the center fold double-page spread, was a bizarro ad for Microsoft’s Zune.

My first thought was that this was pretty cheeky, a full-color double-page abortion the day after Apple announces its new iPod lineup. But then I began to look at the thing carefully.

Here it is:

You will notice the creases. Yes, I had to take a photo of it. When I went to find the online ad, it didn’t exist.

One would think that after all these years of Microsoft displaying absolutely no, and by “absolutely no” I mean none at [insert explicative of choice] all, design sense, I would be inured to such horrors. After all, this is the company that parodied itself with deadly and hilarious accuracy, and still didn’t learn. (And when they don’t parody themselves, others are more than willing to do it for them.)

Look at the thing. About the only mistake they didn’t make was to include the brown one. My mind is bending in painful shapes trying to get a toehold on how to explicate this thing.

Okay, it’s some kind of foul garden with noisome zuneplants popping up. But what’s with the concrete/sandstone monstrosity in the middle? (Photoshop hint: just because you can add textures doesn’t mean you should.) They’re shaped like periscopes of some kind. Why?

And what does WHOLE NEW NOISE mean? It doesn’t even show up on the Zune’s official website.

This does, though:

This is the header in the News section. (I poked around a little bit to see if I could find the foul garden ad. I couldn’t. There was no mention of WHOLE NEW NOISE.)

I swear to God, all I thought of when I saw this was, “Sweet Jesus, the man bought a Zune and now the zombies are going to get him! Squirt, man, for the love of God, squirt!”

Back to the ad.

One starts to notice details:

What’s with the swallowtail, and is that a passenger pigeon?? Meanwhile, behind the masked-out wheat field, masked-out birds flee into the garishly rising sun.

Over on the other side…

…a Zune (maybe that’s the brown one) is being airlifted out of there by a rather cancerous-looking bunch of balloons. Or maybe it’s arriving. The narrative is hard to discern here. One thing’s for sure, the Zune sure can balance: there are only two rope/string/twine thingies suspending the platform on which it sits.

Finally, one’s eye is drawn to the center:

The lone bonsai in the middle sports a pinwheel. Um… OK.

The rest of the flora? Three fungi, and are they not poisonous ones?, and what looks to be a bromeliad, a comfy kind of houseplant, to be sure.

The jaws gape and the brows furrow. What is this about? What is anyone supposed to read into this feckless attempt at whatever this is an attempt at?

My contempt for poor Microsoft is well known, of course, but heavens to betsy, this is just plain incompetent, even for them. WHOLE NEW NOISE? In what way? The Zune is not a new product, nor are these new models. Apple introduced new models, Bill, not you. (Apple’s also about to release yet another update to its operating system, Bill.)

Has anyone seen any TV ads tying into this WHOLE NEW NOISE/Rappaccini’s garden motif? Can you imagine Apple running a print ad like this? And then not coordinating it with the website? No, of course you can’t.

A depressing list

Articles like this one are always depressing to me. I know I will never read even a tenth of the books listed, and that makes me sad.

I’d love to hear which ones fascinated you, or even if you’ve read any of them! (I’ve read one of them, actually.)

Make sure you click through to Part Two. The link is at the beginning of the article, so you have to scroll all the way back up.

What now?

It’s always an odd feeling to finish a piece, especially when it has to go in the mail, because then it really is finished. I had sketched out another ending to “Sir Christémas” on Thursday night because I wasn’t exactly happy/sure about the ending you’ve all heard. At that point, I couldn’t even hear the difference (although they were totally different in structure), so I invited an untrained but opinionated audience (Ginny) to tell me which one she preferred. She liked the original, so into the mail it went.

So no going back, at least in terms of the VocalEssence competition. If When I don’t win, then I can turn around and tinker with it all I want, of course.

What now? It was ironic that on Thursday, an email arrived from the American Composers Forum alerting me to all the competitions out there. There’s one from Salem College in Winston-Salem for harpsichord music, due November 1. You can write either a solo piece or duet, any instrument; I’m thinking trombone. There’s a contest for the Sybarite Chamber Players in NY (gotta like the sound of that group), a string quintet. That’s due November 30. And then there’s the Millenium Chamber Players in Chicago, up to eight players to be drawn from a string quintet, wind quintet, trombone, percussion, and piano. That one is due November 15. Hm. What to do?

I guess I could do all of them, on two week cycles. That would be fun to read about, wouldn’t it? Three major works in a month and a half? (They’re all supposed be at least 10 minutes long.) I could cheat and start to work on them now, of course. There’s always Maila’s request for something for her, David, and Joren, too, and the symphony. Don’t want to wait too long on that one, do I?

It also has occurred to me that I might actually officially orchestrate Blake Tells the Tiger the Tale of the Tailor for the September 18 performance. That might be a good way to play with the new Finale 2008, which now has choral sounds with the Garritan Personal Orchestra! (You will have noticed that I didn’t install this thing in the middle of “Sir Christémas.”)

What’s that, Mike? Oh, you’re back from Africa and want to know what progress I’ve made on Day in the Moonlight? Selfish bastard.

Sir Christémas: last chance

I think I’m done. I had about an hour this afternoon between getting home and having to come back to school for open house, and I just hacked out the ending. I resisted doing a flat da capo ending, but whatever I tried that was new and different just sounded lame. Finally I just gave in to centuries of tradition: end the thing the way you began it. I threw in some senseless interesting modulations every half measure just to make it sound a little different, and I think it’s done.

Last chance to kibbitz: PDF score and mp3 for your perusal. Tomorrow morning it goes in the mail.

Sir Christémas: nearly done

So close, so close! I worked hard tonight, cutting and pasting, listening for that inner camera (how do you like them synaesthetic metaphors?) that would show me what the final piece should sound/look like.

I think I’m done except for the ending, and I know what it should be. It’s just late now and I think I’m going to deal with that tomorrow night. That way it’s still very, very shiny when I pop it in the mail on Friday morning.

If you like, here are the PDF score and the mp3. (The mp3 is pretty big, so be forewarned.)

It’s not too shabby, and it’s actually fun to sing. I can hear a lot of subtleties that the computer is just not getting but that a chorus and celestist would, like in the third verse, which should be as gentle as possible and probably slower than I have it marked.

There are a lot of blank measures at the end, so a lot of dead air at the end of the mp3. I’m not fixing it tonight.