Uhh I just ran out of optimism. Everything looks bleak. I look foolish. I'm doing everything the hard way, and it isn't (yet) worth it
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what I foresee will be hard: cello: lots of high harmonics on open strings -- to 11th partial piano: three keyboards (17tet + 12tet ... but no absurd switching, no virtuosity), some seccissimo rapid single key technique mezzo: not dragging, parlando, rhetorical understanding, a little percussion (candy wrapper and turning small boxes of stuff) one-person-band (guit, kick, hihat, kazoo): should have some drumset experience, bass drum not fancy but needs control, guit mostly open strings & stopped with a cassette case, a traditional bar chord or two -- kazoo more spoken than sung in general: rough vs smooth playing technique, committed delivery of tentative structures ... I want to avoid counting -- simple rhythmic components with variety from tempi
... all this contingent on overcoming ontological difficulty
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I realize I'm past my deadline, er I mean target date.
Isn't the Stearns good news?
There seems to be an outbreak of brokeness (as in being broke, not broken) going around.
Reason ≠ pretext
Rice must be dejected that it missed it's funding opportunity -- maybe you could offer it a reprieve?
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I'm picturing a score on a podium with a little spotlight on it for people to leaf through.
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i wonder from you what you foresee will be hard about your score for the performers, that i can scare them appropriately.
Stearns is good, scary news. Good kind of problem. I have to find people who want to have as much fun deciphering the scores as is needed...
pretext hmm
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cello: lots of high harmonics on open strings -- to 11th partial
piano: three keyboards (17tet + 12tet ... but no absurd switching, no virtuosity), some seccissimo rapid single key technique
mezzo: not dragging, parlando, rhetorical understanding, a little percussion (candy wrapper and turning small boxes of stuff)
one-person-band (guit, kick, hihat, kazoo): should have some drumset experience, bass drum not fancy but needs control, guit mostly open strings & stopped with a cassette case, a traditional bar chord or two -- kazoo more spoken than sung
in general: rough vs smooth playing technique, committed delivery of tentative structures ... I want to avoid counting -- simple rhythmic components with variety from tempi
... all this contingent on overcoming ontological difficulty
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