On Monday, Craig Cavanough and I set up to record another section for our composition. We spent a long time trying to expand on the very first riff that I started playing, before we realised that it was weak material. What ended up being recorded in the session came out pretty quickly and was more complementary to the bit we recorded last week. Craig also re-recorded his drum part from last week, to account for his drums being tuned differently.
I tried to do some composing on the piano Monday night, but I was feeling lost away from my usual set up. I spoke to Gail about it on Tuesday and explained how I felt more comfortable translating the notes I heard in my head with the guitar. She suggested that I should try composing on the piano using cells (I can't explain the difference between cells and motifs, if there is one) and concentrate more on the physical nature of the instrument, rather than getting too carried away with notating what is in my head. It is possible that what is going on in my head is too complicated a lot of the time, and the visual nature of the piano might help me to take a step back and start composing more efficiently.
I still place a great deal of importance in being able to write without an instrument. It may not be the most ideal situation all the time, but it is certainly a useful skill to have. It would certainly make commuting to Sydney by train - as I am inevitably going to have to do soon - a more productive way to use 2-3 hours of the day. I trialed the journey today attending a job interview. I managed to write some lyrics for the composition with Craig Cavanough, start notating a few ideas for my arrangement of Benjamin Kunkler's Theatre of Cruelty, and give some thought to the overall structure of the Benjamin Britten arrangement.
I tried to do some composing on the piano Monday night, but I was feeling lost away from my usual set up. I spoke to Gail about it on Tuesday and explained how I felt more comfortable translating the notes I heard in my head with the guitar. She suggested that I should try composing on the piano using cells (I can't explain the difference between cells and motifs, if there is one) and concentrate more on the physical nature of the instrument, rather than getting too carried away with notating what is in my head. It is possible that what is going on in my head is too complicated a lot of the time, and the visual nature of the piano might help me to take a step back and start composing more efficiently.
I still place a great deal of importance in being able to write without an instrument. It may not be the most ideal situation all the time, but it is certainly a useful skill to have. It would certainly make commuting to Sydney by train - as I am inevitably going to have to do soon - a more productive way to use 2-3 hours of the day. I trialed the journey today attending a job interview. I managed to write some lyrics for the composition with Craig Cavanough, start notating a few ideas for my arrangement of Benjamin Kunkler's Theatre of Cruelty, and give some thought to the overall structure of the Benjamin Britten arrangement.
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