Music is a means of rapid transportation.
~ John Cage
Tuesday morning I didn’t feel like doing anything much except composing and playing the piano. Sullivan was heading over so we could work on the Tempest project and our friend Ann, whom we had also roped in help us compose. We had previously composed 4 songs and sent them along to Dorothy and the choral director: Full Fathom Five, Caliban’s Song, Three Men of Sin and Storm Music.*
The day before, Beth had pretended to play a one-fingered concerto ~ three notes of which triggered something in the Muse. I asked her play them again and then came up with bones of a song, the melody of which I could not remember the very next day! (One would think I would have learned by now to write everything down! Argh!)
Anyway, while waiting for Sullivan to arrive, I tried to remember the melody of the new song. It was very frustrating, but I finally had to let it go and re-write it. By the time I had resigned myself to re-writing it, Sullivan had come in and we then spent a good hour on this new composition, which for lack of a better descriptive title, we’re calling The Wall.* It’s a song that asks whether one is open to love. Everyone, including yours truly was surprised at how hopeful and relatively major it sounded. :-)
Ann had not made it in yet, so Sullivan left to go to the store. While he was gone, she arrived and we promptly wrote two more songs for the Tempest: The Marriage Blessing* and Ariel’s Song (Where the Bee Buzzes).* Both those pieces had been giving all three of us conniptions. Dorothy wanted the marriage piece written in a southern gospel style and Ariel’s Song written in a Broadway show tune style (think June is Bustin’ Out All Over). None of us had ever written anything in either style.
The Muse was working over time however, and we were able to compose both (although Broadway turned into Big Band). We sang them both over and over to make sure we liked them and once Sullivan came back, we recorded both of them. Ann then played a song she had written a couple of years ago, which we all thought would be perfect as the underscoring for Prospero’s Banishment* and we were done for the day.
7 songs down and about 4 to go! Woo hoo!
Oremus pro invicem,
Mikaela
*© 2006 Silver Scroll Productions. All Rights Reserved.
~ John Cage
Tuesday morning I didn’t feel like doing anything much except composing and playing the piano. Sullivan was heading over so we could work on the Tempest project and our friend Ann, whom we had also roped in help us compose. We had previously composed 4 songs and sent them along to Dorothy and the choral director: Full Fathom Five, Caliban’s Song, Three Men of Sin and Storm Music.*
The day before, Beth had pretended to play a one-fingered concerto ~ three notes of which triggered something in the Muse. I asked her play them again and then came up with bones of a song, the melody of which I could not remember the very next day! (One would think I would have learned by now to write everything down! Argh!)
Anyway, while waiting for Sullivan to arrive, I tried to remember the melody of the new song. It was very frustrating, but I finally had to let it go and re-write it. By the time I had resigned myself to re-writing it, Sullivan had come in and we then spent a good hour on this new composition, which for lack of a better descriptive title, we’re calling The Wall.* It’s a song that asks whether one is open to love. Everyone, including yours truly was surprised at how hopeful and relatively major it sounded. :-)
Ann had not made it in yet, so Sullivan left to go to the store. While he was gone, she arrived and we promptly wrote two more songs for the Tempest: The Marriage Blessing* and Ariel’s Song (Where the Bee Buzzes).* Both those pieces had been giving all three of us conniptions. Dorothy wanted the marriage piece written in a southern gospel style and Ariel’s Song written in a Broadway show tune style (think June is Bustin’ Out All Over). None of us had ever written anything in either style.
The Muse was working over time however, and we were able to compose both (although Broadway turned into Big Band). We sang them both over and over to make sure we liked them and once Sullivan came back, we recorded both of them. Ann then played a song she had written a couple of years ago, which we all thought would be perfect as the underscoring for Prospero’s Banishment* and we were done for the day.
7 songs down and about 4 to go! Woo hoo!
Oremus pro invicem,
Mikaela
*© 2006 Silver Scroll Productions. All Rights Reserved.
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