It feels like I've acquired several projects to balance since the beginning of this diary. Productivity measured in small increments adds up to a much larger effort than I've ever been able to reflect on before. The Tetanus Rig composition process has been slow and meticulous, but now it seems like I have more evidence to support the beauty of it. It is amazing to work with people who have the patience to let each other search for their optimum part in a composition. I certainly take my time with this, as I struggle to play my ideas as I think of them. There is something about working in a group that makes the ideas come quicker.
Molto-talented drummer/producer/engineer Craig Cavanough and I got together for a jam on the weekend for the first time in nearly a year and a half. We have been planning to record some multi-layered, asymmetrical tones for a while now, and when we set our instruments up on Sunday we started realising them straight away. I urged myself to get away from repetition (i.e. the riff) in favour of rhythmic and melodic alterations to a simple idea introduced at the start. This is something that fascinates me in my own listening and it is what motivates me to study orchestral works. Craig and I bounced ideas off each other in our customary way, though he was a lot quicker than me at executing his on the drums. Craig engineered the recording of what we'd come up with and pulled a great sound in a short amount of time.
As we listened back to it, I started to hear a low two-part vocal idea in my head. I explained to Craig how it could follow the drums and decided to work on it at home. I came up with some harmonies tonight and started trying to write lyrics to them. This was in addition to 40 mins on the Britten arrangement, which I haven't worked on since my last entry. I still haven't worked out the structure of the whole piece or even the current section. Writing with the pencil and paper is like a riveting puzzle that wakes up some obscure part of the brain. Learning piano is a bit like that too. When the time comes to worry about the structure, I'll have a wealth of material to play with.
Molto-talented drummer/producer/engineer Craig Cavanough and I got together for a jam on the weekend for the first time in nearly a year and a half. We have been planning to record some multi-layered, asymmetrical tones for a while now, and when we set our instruments up on Sunday we started realising them straight away. I urged myself to get away from repetition (i.e. the riff) in favour of rhythmic and melodic alterations to a simple idea introduced at the start. This is something that fascinates me in my own listening and it is what motivates me to study orchestral works. Craig and I bounced ideas off each other in our customary way, though he was a lot quicker than me at executing his on the drums. Craig engineered the recording of what we'd come up with and pulled a great sound in a short amount of time.
As we listened back to it, I started to hear a low two-part vocal idea in my head. I explained to Craig how it could follow the drums and decided to work on it at home. I came up with some harmonies tonight and started trying to write lyrics to them. This was in addition to 40 mins on the Britten arrangement, which I haven't worked on since my last entry. I still haven't worked out the structure of the whole piece or even the current section. Writing with the pencil and paper is like a riveting puzzle that wakes up some obscure part of the brain. Learning piano is a bit like that too. When the time comes to worry about the structure, I'll have a wealth of material to play with.
I have decided to take your lead and spend an hour a day doing my Diploma of OHS!
ReplyDeleteDad.