Press play and follow the instructions. You’ll be using the your computer’s number keys to control the video as an instrument.
Start the first video. Follow its instructions and watch the score in the upper left corner.
Start the second video and keep it selected, pressing your computer’s number keys to play it like an instrument.
In late September, Elara String Quartet performed my quartet “Losing Constellations” at Indiana University for the 2018 SCI National Student Conference (here pictured doing their dress rehearsal in Ford-Crawford Hall). I deeply appreciate their focus, musicality, and that they have supported my work.
(Dr. Charles Corey, Ralph Lewis (holding Partch’s Adapted Guitar I), Luke Fitzpatrick, Dr. Kerrith Livengood. Photo credit Julia Sullivan)
What a wonderful weekend! The three day Harry Partch Mini-Festival was an exhilarating series of guest lectures, performances, and workshops that I’m so thankful to have been part of.
Last year, Dr. Kerrith Livengood envisioned bringing Dr. Charles Corey and Luke Fitzpatrick to University of Illinois with Harry Partch’s instruments in tow to perform Partch’s music and create new music with UIUC composers. Dr. Corey is the person in charge of the Partch Instrumentarium at University of Washington as well as a composer and Luke Fitzpatrick is a longtime member of that university’s Partch Ensemble, as well as a composer, violinist, and improvisor.
As she built the festival, she reached out to Group for New Music, a student club at University of Illinois I’m part of. In working with G4NM president Elizabeth Gartman and her, I facilitated an instrument building workshop at Urbana’s Independent Media Center. In addition to Dr. Corey and Luke showing off the Partch instruments, we built udderbots, and local inventor/musician Skot Weidmann shared his Hyve synthesizer.
Dr. Livengood also facilitated the opportunity to write for these deeply-committed Partch interpreters on Partch’s singularly designed instruments. My contribution, in the playlist is two songs for adapted viola and intoned voice. I have a few more in mind, but they will have to wait until I am done with more of my dissertation. I hope you like these songs. I would love to know what you think about them. Drop me a message!
With the notions of time and timeliness in mind, I wrote 30 Firsts with a sense of quickly learning something new then moving on in mind. (Some of the impulses based on what day it is performed too). I really appreciate how even on May 24th (now 24 pieces into the process) Emily gave this strong, springing performance.
July was such a highlight for me this year because I was teaching music composition at Illinois Summer Youth Music. Talking about creativity, collaboration, and how these ideas connect with self-respect and respect for others is such a joy. The only hard part of week long sessions, which my fellow composition teacher Lucas Marshall Smith would agree with, is how do you fit what feels like a decade’s amount of training and insights into each week-long session?
The answer is… you don’t!
Instead, you have to pick your battles and, in the case of an upcoming announcement of a call for works from ISYM by All Score Urbana, you find ways to continue to support the students’ musical exploration and try to offer opportunities going forward.
With experience from a previous summer teaching at ISYM in mind, I reflected on how I could use All Score Urbana as something for these young composers to aspire to after the week was over. My experiences at All Score also shaped how I ran my classroom. Using a workshop format with an emphasis on interactivity and showing appreciation for each classmate’s efforts, we worked toward creating a final composition at the end of each week. I tried to emphasize the power of community in a number of ways, including inviting special guests including composer Dr. Ivette Herryman and bassoonist and All Score teaching artist Annie Lyle Mason.
Another strong influence on how I approached making each week’s session meaningful was from conversations with Dr. Stephen Andrew Taylor, particularly about how musical pattern-making can be a great avenue to help new composers explore, especially for ones in the age range that attend ISYM.
As we explored this we had pieces of the day that we discussed in terms of the presence or absence of pattern making. While we would often explore different aspects of this in each class, two mainstays of all of the classes were Benjamin Britten’s Playful Pizzicato from Simple Symphony and Tania León‘s Alegre.
Britten’s string orchestra piece would be played in excerpt and later entirely as we learned about musical parameters including as pitch, rhythm, timbre, dynamics, and articulation. The dramatic use of dynamics and the different kinds of pizzicato (a very guitar-like strumming happens!) led to some wonderful musical observations and creative interpretations.
León’s concert band piece was perhaps the best teaching resource during these weeks. After the students had spent the first two days thinking about and trying ways we could make or change a melody, each Wednesday Alegre proved to be a beautiful way to show how a musical gesture can be renewed through these kinds of careful adjustments and variations. Because many of the young composers were trying to keep a sense of consistency as they made the next version of their melodies, they identified heavily with Alegre and tended to be extra excited all class long. (This was also one of the most consistent note taking points of the week–everyone wanted to hear this music again).
Inviting Ivette and Annie as special guest presenters was meant to inspire the students in a number of ways. Both of them love supporting other people’s creativity and working with young musicians. Having them in class allows them to share their different artistic viewpoints and expertise. One principle I try to bring to teaching and to teaching composition is that a single classroom’s teacher is not the final word on everything. I think this encourages students to seek out better mentors, role models, and resources in the future or at least not to let the first negative personality keep them from pursuing something they want to do. I also tried to apply the “Fun Uncle/Aunt/Grandparent” principle wherein anything the students hear from a special guest, even if I have said it before, will seem much more interesting and exciting.
During Annie’s Wednesday visits, the students saw a professional performer who patiently discussed how to write for bassoon, answered all of their questions, and someone who clearly knew more about bassoon than me. I think that kind of collaborative expertise, which Annie talked about as well, shows strength in working well with others.
When Annie returned for her Friday visits, she was greeted with a new piece by every student in the class. Some had lurking, spooky gesture-filled pieces and others had written bouncy variations that asked her to play secco (that very staccato sound bassoons can do). One student’s piece was a neatly constructed non-retrogradable melody! Another explored extended techniques they had vaguely heard of before coming to ISYM that Annie had been able to clarify that Wednesday. In every case, Annie showed the kind of respect, curiosity, and followthrough any composer would dream of seeing while working with a performer.
During the second week, Ivette visited on Thursday. She played a video of one of her choral pieces Sigue, and asked the students enthusiastic questions about what they were composing. She shared about her journey as a composer, including the plucky way she began composing when she was about the class’s age by helping a friend who was stuck on a piece they were working on. She talked about her love of playing piano and about how this enjoyment of composing has led her to receive a doctorate in it from Michigan State University and to teaching at University of Illinois and Western Illinois University.
After her presentation was over, I asked the class if she could stay and give feedback as we continued to write our pieces for Friday. Because of Ivette’s warm presence and the encouragement she gave the students earlier, they were especially receptive to this. As we played through the pieces-in-progress, I particularly enjoyed how we had different observations. The following day, as the class and I listened to the music they had written, I noticed how a few of the students had particularly taken Ivette’s advice to heart and had found some new, beautiful variations on their melodies. Hearing more than one supportive voice seems to have made an impact on my ISYM students and I am so glad that is the case.
I am so thankful to get to share Gabriela Diaz and Wendy Richman’s recording of Unwinding with Penelope from Boston Microtonal Society’s 2017 Call for Works concert. It is inspired by the subtle delaying and resistance strategies Penelope employs in The Odyssey. After promising to choose between her suitors when she completes her father-in-law’s funeral shroud, she keeps making and unmaking it, keeping them at bay as best she can with what she has available to her. (My appreciation for this comes especially from Dr. Barbara Clayton’s A Penelopean Poetics.)
I wrote this piece with Gabby and Wendy in mind, especially thinking about each of our access points to microtonal music. For Gabby, she is known for doing Ligeti’s concerto that involves scordatura (retuned strings) and microtones. For Wendy, she found Scelsi’s Manto III to be a transformative experience. For me it was when I was at the Xenharmonic Praxis Summer Camp back in the 2011, writing in 14 edo (14 notes per octave) for Jacob Barton, Steven Kandow, and Chris Vaisvil. Because of this I chose to use a similar starting position and sense of aspiration in how I designed Unwinding for Gabby and Wendy.
While composers like Rebecca Saunders, James Tenney, Harry Partch, and Peter Adriaansz inspire how I imagine a musical space, those warm, playful weeks in West Virginia will always be a part of how I approach alternative tuning practices.
Image credit: Quilt made at the Garden Garret Studio in Vallejo, California.