Goal setting and spotting gems

I read a great article in Computer Music magazine today that explained the importance of scheduled composition time. It referred to the composition process as an exploration of musical fragments, where the composer has to sort through them and decide which to accept and reject. The idea of composing regularly is to practice this sorting process and become quicker at it over time. In other words, the more composing you do, the easier it is to find the ideas you'll want to keep. Inspiration comes with training.

I did some goal setting today using Aleks Srbinoski's Fulfilling Happiness (I composed the music for this program- to hear some: follow the link, scroll down and click "Sample 1"). It is overwhelming to discover how planning a few major outcomes for the near future can influence so many factors in the present. The main thing for me to keep checking is that the goals are achievable and the process of achieving them is enjoyable.

The most relevant goal to this blog is that I reach a point with the Britten arrangement where I can start seeking out people to perform it in July. I am thinking this point will be a complete movement of at least 10 mins in length. I want to compose more movements, but I figure if rehearsals begin earlier I will be able to uncover major problems and write more efficiently after developing a rapport with the players. I will be repeating this goal to my close friends so that they know come July whether I deserve my birthday drinks or not.

Piano fingers assembles bookshelf

If you needed any measure of how easy it is to assemble Officeworks' furniture, then I can say that I managed quite well today. It reminds me of the old joke that my dad often cites from his own OH&S class, about how his son thinks that Manual Handling is a spanish guitarist. Apart from the purchase of a new computer chair, the construction of the bookshelf was supposed to be the last step in my workspace optimisation; however, I only managed to squeeze my music books on there. There are still several physics textbooks, computer reference books and novels with no place to go. At least now I have some experience in the assembly of bookshelves to match the inevitability of me purchasing more books.

I must have made an impression at my first piano lesson, because Gail started giving me more work to do for next lesson before I even played a note today. I was glad that she decided to push me harder, because as I was practicing over the week I felt like I could have been learning more new material. Also, since I mentioned playing in Tetanus Rig, she has started pointing out where certain techniques can be applied to rock piano. She was very complimentary about my technique, which makes me more confident about my instincts towards what feels right while I'm practicing.

I think I am making progress with the Britten arrangement. The section I have been working on for the duration of this blog is very busy harmonically and dynamically. I reached the end of a kind of 4 bar arch tonight that I feel should be followed with something even more intense. I want to make sure that I get as much out of this section as possible before trying something more sparse or atmospheric. By that stage I will have three sections and most probably not be too bothered about the order in which they will appear.

Guitar fretboard workout

It has been almost a week since I last worked on the Britten arrangement; however, I have been participating in the creation of some new Tetanus Rig material. During these group writing sessions I have noticed the positive influence of piano lessons and composing by hand. I feel like I already have more of a grasp of the theory and a greater sense of the potential for note choices. It makes sense that composing and playing music more often is an effective way to study theory.

I spent about ten minutes figuring out what the Britten arrangement thus far would sound like. After convincing myself that it was okay, I wrote some more of the guitar chords with a vague idea of the direction that I wanted the melody to take. It is a familiar trait of the guitarist to strum some chords first and come up with a melody second. I feel the need to break away from this, although in a way I have already started with piano lessons and composing by hand. Already I am becoming much more aware of the actual notes on the guitar fretboard.

Mahler 8 - Love as the creator

I spent 40 mins composing a single bar of the Britten arrangement tonight. The main difficulty I faced was in picking it up from where I left it last time - about three quarters of the way through a phrase. I'm never exactly sure where a phrase should end; most times I probably end them prematurely. This isn't a major concern though, as these composing sessions are about getting all the ideas down and evaluating them later. You have to work hard to gain a wealth of material, whilst not worrying too much about how it will be shaped into the finished product. In terms of obtaining a finished product, it is useful to have a deadline to work towards. At this stage, the Britten arrangement isn't established well enough in my mind for me to think about a deadline. Once I spend more time manipulating the initial motives and phrases, a broader structure or outline for the piece might start to materialise.

I experienced some more Mahler played by Vladamir Ashkenazy, Sydney Symphony and several choirs and soloists at the Opera House last night. It was Mahler's Eighth Symphony, which is renowned for the hundreds of singers and musicians required to perform it. The choral parts were the highlight for me. I was really impressed with the choirs' precision and control. From the softest to loudest dynamics, their tone was always consistent and clear. I also intend to write a review on this performance, so I'll save any elaboration on the actual content and my reaction to it until then.

Piano lessons, Robert Schumann and syncopation

When I first picked up the manuscript paper with the Benjamin Britten arrangement on it tonight I noticed that I had composed 2 new bars without Finale. I was so tempted to hear them that I got up and started walking towards the computer to program them in. After taking a few steps (roughly halfway along on the journey from lounge room to bedroom) I realised how mundane and time-consuming that was and sat back down with guitar, pencil and paper. Good move, because I ended up breaking the time limit commandment again by continuing to write after my 40 mins was up. At that point I had just started a new bar of guitar and already knew what I wanted. I didn't trust myself to remember it without writing it down.

I have been thinking a lot about the melodic line of each instrument and trying to have less movement over time. I think what I am doing is mainly homophonic because the guitar is involved and I like lots of chord changes, but the guitar is now getting closer to four-part harmony than the usual tugging on the neck with barre chords. I've also picked up a few new chords from playing Bach.

I'm starting piano lessons next week! This is something I've wanted to do for a while, but I only recently thought to ask a great piano player that I already know. I told her that I want to learn classical piano and that all I can do at the moment is play bass in the left hand and chords in the right. To get the whole two hand thing working we're going to start with scales and the pieces in the Suzuki books. I had a look at volume 2 earlier and the highlight was a piece by Schumann. His use of syncopation is instantly recognisable. They come out gentle and slippery compared to the more measured, jarring syncopations of Stravinsky. The staggered moments at the start of the Britten arrangement that I mentioned in my first post have been a constant source of inspiration for new material. I hope that my syncopations come out as a pleasant suprise when they are eventually played.