Monday, December 11, 2006
12:06
Chipping away, just chipping away.
This piece is very hard to work on, like sculpting marble. Every hit of the hammer and chisel yields very small results.
And if I may stretch my metaphor a little further, what also makes this a lengthy process is that I am looking into the marble to find the form.
I don’t have a clear idea for the language, just a concept – to write something “pretty” without resorting to diatonicism, using a free chromatic language. It’s hard.
So every day is just small little marks of the chisel, then stepping back to see what form is emerging.
Adding notes, moving notes, removing, changing, moving bits around, connecting, disconnecting, changing the rhythms, displacing the meter, lengthening phrases, shortening, nip and tuck, chip, chip, chip.
I can see something taking shape now. It’s faint, but it’s there.
Monday, December 11, 2006
Wednesday, December 6, 2006
Chamber CD - Day 31
Wednesday, December 06, 2006
12:16 AM
Well, look at that, I am done. I’ve laid out my “colours” and I am ready to “paint”.
It’s hard to believe. Actually, I feel a little bit confused about it - like it can’t be true. I’m afraid tomorrow I’ll listen to my ideas, wind up hating them and tossing them all.
But I have to commit at some point. Always in the back of my head is “you could do better”, but if I keep thinking that I’ll never do anything.
So I have my colours laid, out; my motives, chords, melodic ideas, rhythmic ideas, tempo, instrumentation (flute and vibes) and even some idea of the form.
The ideas I have so far tend to sound kind of impressionistic, so I’ve been playing through Debussy’s “Suite Bergamesque” and “Prélude a L’Après-Midi d’un Faune” this morning, paying special attention to the harmonic and melodic language. I read through the beginning of Ravel’s “Daphnes and Chloé” as well. I just wanted to compare and build from there.
So now it’s lunch time, I have planned tomorrow’s composition time. Should be good.
12:16 AM
Well, look at that, I am done. I’ve laid out my “colours” and I am ready to “paint”.
It’s hard to believe. Actually, I feel a little bit confused about it - like it can’t be true. I’m afraid tomorrow I’ll listen to my ideas, wind up hating them and tossing them all.
But I have to commit at some point. Always in the back of my head is “you could do better”, but if I keep thinking that I’ll never do anything.
So I have my colours laid, out; my motives, chords, melodic ideas, rhythmic ideas, tempo, instrumentation (flute and vibes) and even some idea of the form.
The ideas I have so far tend to sound kind of impressionistic, so I’ve been playing through Debussy’s “Suite Bergamesque” and “Prélude a L’Après-Midi d’un Faune” this morning, paying special attention to the harmonic and melodic language. I read through the beginning of Ravel’s “Daphnes and Chloé” as well. I just wanted to compare and build from there.
So now it’s lunch time, I have planned tomorrow’s composition time. Should be good.
Tuesday, December 5, 2006
Chamber CD - Day 30
Tuesday, December 05, 2006
12:20 PM
Still working on my drum rudiments. The practice is giving me a lot of insight that I hope will translate to great writing.
Then I worked on that slow piece. It’s a struggle that one. Everything I come up with seems too wishy-washy, too jazzy, too film score like, too impressionistic, too blah! I am starting to have anxiety in the morning before I come down to work on this piece. I have to relax about it.
This is composition as problem solving: having a goal and figuring out how to get there. Like coming up with a thousand ways NOT to build a light bulb. So I am getting pages and pages of rejected ideas and hours spent at the piano, trying out this and that.
Because this piece is a problem I need to solve, I am only working on it, nothing else. I find that being immersed in a problem is the best way to solve it. I was in the shower when I thought that quartalism in a bi-tonal/bi-modal context might be a good way to get the sound I am looking for.
And it does sound pretty good. I am not sure it has that pure, bright, wistful sound that tonal writing can have, though.
Will I end up writing tonal music? God, it would be so easy.
The instrumentation is also giving me a bit of a headache. I have flute and vibes in mind, but I am not sure. Perhaps flute and sting trio? I need to keep things small for this project.
Also, the fact that it is taking so long is causing me some stress. My wife says I always do that, I never take the easy road. I never do what comes easy and I look and look and get stressed out. She’s right.
I never trust an idea that was easy to get.
12:20 PM
Still working on my drum rudiments. The practice is giving me a lot of insight that I hope will translate to great writing.
Then I worked on that slow piece. It’s a struggle that one. Everything I come up with seems too wishy-washy, too jazzy, too film score like, too impressionistic, too blah! I am starting to have anxiety in the morning before I come down to work on this piece. I have to relax about it.
This is composition as problem solving: having a goal and figuring out how to get there. Like coming up with a thousand ways NOT to build a light bulb. So I am getting pages and pages of rejected ideas and hours spent at the piano, trying out this and that.
Because this piece is a problem I need to solve, I am only working on it, nothing else. I find that being immersed in a problem is the best way to solve it. I was in the shower when I thought that quartalism in a bi-tonal/bi-modal context might be a good way to get the sound I am looking for.
And it does sound pretty good. I am not sure it has that pure, bright, wistful sound that tonal writing can have, though.
Will I end up writing tonal music? God, it would be so easy.
The instrumentation is also giving me a bit of a headache. I have flute and vibes in mind, but I am not sure. Perhaps flute and sting trio? I need to keep things small for this project.
Also, the fact that it is taking so long is causing me some stress. My wife says I always do that, I never take the easy road. I never do what comes easy and I look and look and get stressed out. She’s right.
I never trust an idea that was easy to get.
Thursday, November 30, 2006
Chamber CD - Day 25
Thursday, November 30, 2006
11:51 AM
Here’s the problem: how do you get chromatic, non-diatonic, even dissonant music to sound bright and pure - like a child sleeping?
Oh, and you can’t use simple diatonicism.
Because right now, I want to write a piece as a metaphor for how I feel when I see my boys sleeping, a sight that stirs very powerful emotions in me. And I refuse to write a simple diatonic tune.
I mean, I love diatonic tunes, and I love to write them, but I need to dig further, look farther. Otherwise, my inner academic will be pissed, and that would be bad.
Up till now, I’ve been exploring various motives and pitch sets and then stringing them together, with only limited success. It sounded good, sometimes really good, but never appropriate for sleeping boys.
So this morning, I started out with reading, analyzing and listening to Bill Evans, something I’ve also been meaning to do. There wasn’t much there I didn’t know, thanks to Mark Levine’s “The Jazz Piano Book.” But it clarified a few things and got the juices flowing.
Then I started exploring in more depth the following musical concept.
You see, the melodic minor scale has some colourful chromaticism stemming from its ascending and descending forms, which feels completely organic and natural. And you know, my goal is always to make my music feel natural and organic, even when it is complex.
So I did a lot of improvisation, taking that concept for a ride – go up this way, come down that way – to see what would come out. And guess what, some nice stuff came out, stuff that seems right for two sleeping boys.
Now for the “overnight test.” Let’s see if I still like the ideas tomorrow!
11:51 AM
Here’s the problem: how do you get chromatic, non-diatonic, even dissonant music to sound bright and pure - like a child sleeping?
Oh, and you can’t use simple diatonicism.
Because right now, I want to write a piece as a metaphor for how I feel when I see my boys sleeping, a sight that stirs very powerful emotions in me. And I refuse to write a simple diatonic tune.
I mean, I love diatonic tunes, and I love to write them, but I need to dig further, look farther. Otherwise, my inner academic will be pissed, and that would be bad.
Up till now, I’ve been exploring various motives and pitch sets and then stringing them together, with only limited success. It sounded good, sometimes really good, but never appropriate for sleeping boys.
So this morning, I started out with reading, analyzing and listening to Bill Evans, something I’ve also been meaning to do. There wasn’t much there I didn’t know, thanks to Mark Levine’s “The Jazz Piano Book.” But it clarified a few things and got the juices flowing.
Then I started exploring in more depth the following musical concept.
You see, the melodic minor scale has some colourful chromaticism stemming from its ascending and descending forms, which feels completely organic and natural. And you know, my goal is always to make my music feel natural and organic, even when it is complex.
So I did a lot of improvisation, taking that concept for a ride – go up this way, come down that way – to see what would come out. And guess what, some nice stuff came out, stuff that seems right for two sleeping boys.
Now for the “overnight test.” Let’s see if I still like the ideas tomorrow!
Monday, November 27, 2006
Chamber CD - Day 22
Monday, November 27, 2006
11:58 AM
You know, this music composition thing is taking its sweet time just getting started.
Is it just me? Am I the only one who goes through these pains getting my ducks in a row?
The good news is that, no, it’s not just me.
I like reading about how other creative types work, not just composers. I especially like commercial writers and designers, people who have to be very creative so that their work may compete effectively in a media-crazy world. And they have to do it under tight deadlines and demanding clients. I respect them. They are great models of creativity.
So I was reading this book about copywriters called “The Copywriter’s Bible.” and here’s a little quote from it that felt really good to read.
So that’s why I am learning my drum rudiments by heart by playing them daily, why I spent a little too much time reading through Khatchaturian’s "Ten pieces for Children" this morning, dissecting his melodic and harmonic language, and why I am still fine-tuning my composition process. I need to be ready for this project.
And now, I am getting ready to shoot at a few ideas, we’ll see how it goes.
11:58 AM
You know, this music composition thing is taking its sweet time just getting started.
Is it just me? Am I the only one who goes through these pains getting my ducks in a row?
The good news is that, no, it’s not just me.
I like reading about how other creative types work, not just composers. I especially like commercial writers and designers, people who have to be very creative so that their work may compete effectively in a media-crazy world. And they have to do it under tight deadlines and demanding clients. I respect them. They are great models of creativity.
So I was reading this book about copywriters called “The Copywriter’s Bible.” and here’s a little quote from it that felt really good to read.
“I make it a practice to never do anything until I know everything. [...] NEVER go “Ready, Fire, Aim.” If you do, you’ll always shoot yourself in the foot.”
“Consider the familiar cycle of “Ready, Aim Fire.” “Ready” takes a second, “Fire” takes a fraction of a second, but it’s the “Aim” part that’s the most crucial, that can seem interminable, what with the squinting, focusing, steadying, and just when you think you’ve drawn the exact right bead, you waver and have to begin all over again.”
- Ed McCabe, copywriter.
So that’s why I am learning my drum rudiments by heart by playing them daily, why I spent a little too much time reading through Khatchaturian’s "Ten pieces for Children" this morning, dissecting his melodic and harmonic language, and why I am still fine-tuning my composition process. I need to be ready for this project.
And now, I am getting ready to shoot at a few ideas, we’ll see how it goes.
Tuesday, November 21, 2006
Chamber CD - Day 16
Tuesday, November 21, 2006
12:05:00 PM
Today I wrote a bunch of cool ideas, transcribed part of a Benny Goodman solo and then adapted it to my own style. Turned out really cool.
The top one is the Goodman phrase and the bottom on is my adapted version. I won't bore you with the theoretical details.
(Don't forget: ©2006 Alain Mayrand!)
And then I also came up with two other nice ideas that I can't use!
The first is a little Dorian mode, medieval-like melody that I would onoly use in a film or for my personal use (I like the Dorian mode a lot. Sue me.) The second idea is a great start for an intermediate piano nocturne and it is in a more personal style, so I will surely use it. The only problem is; now is not the time for those pieces!
But what am I supposed to do, not write those ideas down? Just push them aside and say "I don't have time for you right now" and let them die?
If ideas come, then I don't stop them; I let them come. Then I keep them for later when I will have time to develop them into full-blown pieces. It just sucks that today I had too many and that I didn’t get the work done I was aiming for.
Ah, could be worse. Glass is half full and all that.
My “composition planner” is a real help. I can’t believe I never thought of it before. I write down what I want to work on for the next day, which enables me to get right into it.
12:05:00 PM
Today I wrote a bunch of cool ideas, transcribed part of a Benny Goodman solo and then adapted it to my own style. Turned out really cool.
The top one is the Goodman phrase and the bottom on is my adapted version. I won't bore you with the theoretical details.(Don't forget: ©2006 Alain Mayrand!)
And then I also came up with two other nice ideas that I can't use!
The first is a little Dorian mode, medieval-like melody that I would onoly use in a film or for my personal use (I like the Dorian mode a lot. Sue me.) The second idea is a great start for an intermediate piano nocturne and it is in a more personal style, so I will surely use it. The only problem is; now is not the time for those pieces!
But what am I supposed to do, not write those ideas down? Just push them aside and say "I don't have time for you right now" and let them die?
If ideas come, then I don't stop them; I let them come. Then I keep them for later when I will have time to develop them into full-blown pieces. It just sucks that today I had too many and that I didn’t get the work done I was aiming for.
Ah, could be worse. Glass is half full and all that.
My “composition planner” is a real help. I can’t believe I never thought of it before. I write down what I want to work on for the next day, which enables me to get right into it.
Monday, November 20, 2006
Chamber CD - Day 15
Monday, November 20, 2006
12:08 PM
Not a bad morning. I came up with some nice ideas. Things are starting to gain some focus.
The faster ideas are in good shape: the scherzo or barbaro type of ideas. The more eerie ones are fine too, like my nocturne ideas.
I love these types of pieces and have evolved a certain style in the writing of them. Furthermore, they hold chromaticism and dissonance quite naturally, giving them a more “modern” bite that satisfies both my aesthetic and academic sides. I’ll start writing those pieces tomorrow.
It is the brighter, lighter ideas that I wish to write I am having some problem with. You know, something that says Religioso without the Tenebroso. I want some brightness on this CD, some patches of light, not all sturm und drang!
So I am exploring to see if I can accomplish this without resorting to pure diatonic or modal writing. I have tried many ideas, and some of them work pretty well, but I sometimes feel that I am going through some purging process, sweating the “dissonance” out of my system.
Perhaps, one day, my inner-academic will make peace with diatonicism. Who know?
12:08 PM
Not a bad morning. I came up with some nice ideas. Things are starting to gain some focus.
The faster ideas are in good shape: the scherzo or barbaro type of ideas. The more eerie ones are fine too, like my nocturne ideas.
I love these types of pieces and have evolved a certain style in the writing of them. Furthermore, they hold chromaticism and dissonance quite naturally, giving them a more “modern” bite that satisfies both my aesthetic and academic sides. I’ll start writing those pieces tomorrow.
It is the brighter, lighter ideas that I wish to write I am having some problem with. You know, something that says Religioso without the Tenebroso. I want some brightness on this CD, some patches of light, not all sturm und drang!
So I am exploring to see if I can accomplish this without resorting to pure diatonic or modal writing. I have tried many ideas, and some of them work pretty well, but I sometimes feel that I am going through some purging process, sweating the “dissonance” out of my system.
Perhaps, one day, my inner-academic will make peace with diatonicism. Who know?
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