Seventeen tone piano project phase three Done. It seemed to be all my friends/people who humor me and are humored by me, and exactly one person I didn't know. Funtimes. Half-assery, in my opinion. I was mister jack-of-all-trades-master-of-none, playing borderline-passable slide whistle, udderbot, trombone, and piano, and being a silly
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(It did happen! http://www.archive.org/details/seventeenTPP_03)
Otherwise, I'm giddily speechless in the face of this comment.
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The x's of roughness and $'s of smarminess were surprisingly clear. The harmonics were a surprise.
I'm too tired to write more now, but this recording is really helpful for thinking of what to tweak, and it shoes the degree of committed presence you all put into something the reasons for which may have seemed ... obscure.
The other when you put up a post with 'fonala' as you current music, and did a search and found only websites in Hungarian
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Hooray for Jacob!!!! Hooray for Mark!!!! Across the ocean, on top of an alp, I am jumping up and down and waving my arms, whether or not you are bowing. You can't stop me. Ha! so There!
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Regarding the waving of arms, I will mention that I actually have had thoughts about you and that before. In the rehearsals for Elliot's madrigal, it was a relief when you took charge of starting and/or continuing tempo. You are exceedingly clear, and you have a very good feel for showing people how to follow you. In fact, better than any other student I can think of. You don't have any of the pretentious mannerisms of a conducting student, or the floopdefloops of someone who doesn't know exactly what he's doing and has to cover. You have rhythm, unlike most of the population of Shepherd, and you communicate it intuitively. So, I couldn't see every armwave from directly behind you last night, but the piece certainly went well, as far as I could tell, you didn't look stupid.
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We do have a 31-tone timing problem. I intend to refuse positions of leadership when not accompanied - and implied - by authority based in expert knowledge. I plan to invite the composition not only of exercises but of micro-social structures that will aid rehearsal.
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