Can you help me? I’m not sure what ‘being productive’ means anymore. Perhaps you can share your thoughts below.
Many times I’m asked “What do you actually DO?”
Today (yesterday, by the time this is published) I accomplished the following:
Shopped for a new suit, baked some cookies, had a lunch meeting and then an afternoon chat, kept up with most of my emails and social media, completed an online training and prepared the content of a new financial report schedule for my team, watched some audience development, volunteer and photography tips videos on Youtube, and read Ken Blanchard’s book “Full Steam Ahead.” Yes, you read that correctly: I read a book in one day. It happens.
Some of the blog posts I indulged in today were by Chris Guillebeau and Marie Forleo, and there were moments I actually sat to watch Hook and The Blind Side. My early afternoon 7 minute nap actually took 20 minutes today, and my 25 minute walk was only 15 because the hot wind made it impossible to walk at a decent pace and I got worn out very quickly – the sunburn probably didn’t help, either. (Thinks: maybe reasons for the longer than normal nap, too?)
As dinner is cleared from the table and dessert prepared, I hopped onto the computer to share a day in the life of me, and yet there is plenty more to come, at least another 4 or 6 hours’ worth.
I have no idea if this is a lot to accomplish, normal, or less than most people do. Can you help me? Outline in the comments below what a day in the life of YOU looks like, and I’ll be able to determine if I’m being productive or not. Thank you – I appreciate it.
We will all likely learn a thing or two from you, as well…
Last month I had the distinct honor of attending a Holiday concert in a rather chilly New Jersey, during which my Global Music Award winning piece Wind Quintet 1 was played for the very first time. Thanks to Jane Rondin and the Zephyrs Winds, I got to hear what the ‘human element’ could add to the composition I’d been hearing in my head and online for weeks.
The audience seemed to really enjoy all four movements and I’m so pleased there were many friends & fans who were able to join us before (for drinks in town), during and after the concert – thank you. It’s always really nice to see familiar faces and meet new folk, too.
For those of you who were not able to attend, here’s what happened:
THANK YOU to all who participated in the 3rd Annual #AskAConductor Day on Twitter earlier this week. Remarkable stuff! Some friendships were rekindled, some new ones made, and I’m hoping that those who like live music (orchestras, choirs, musicals, opera, film, etc.) are now more aware of what conductors actually do, how they do it, and why.
After all, that’s the purpose of giving you a global opportunity to ask a conductor whatever you want!
If you missed it, glean the incredible list of original tweets from the transcript linked below and make sure you join my mailing list so you get to hear about next year’s event ahead of time.
But grab a last-minute chance now – add your question in the comments below and I’ll put it to ‘the crew’ and have a go at answering it myself. We don’t want you non-Tweeters to be left behind, so ask away!
Earlier this evening I hosted my first Twitter chat. Thanks to the encouragement, inspiration and sharing of resources from Lisa @PracticalWisdom it seemed to be a success! Well, I certainly enjoyed it, and time simply flew by.
And I’m impressed that a conductor from Finland joined in – it was 1am there when we started!
The three topics we explored, with very interesting opposite perspectives from performers and audiences, were:
Do musicians who played in youth orchestras now advocate for or even attend orchestra concerts?
Do concert halls help or hinder the success of orchestras?
Why are some conductors marketed and treated like Rock Stars?
Please let me know in the comments below if we should do this again, and if we do, what topics would you like to discuss? Thanks to the following participants, who I hope will join us again next time (yet to be scheduled, because we’ll be doing another #AskAConductor in December…)
What a journey this has been! I do hope you’ve enjoyed it.
Well, our piece of music Sonata for Chamber Orchestra is complete. Probably. Like most things in life, there’s always room for a little change here and there but at the moment, I don’t forsee any such needs. OH! Tweetable 🙂
I wrote the introduction and added a fun little coda (remember Dudley Moore’s numerous types of Endings?), and just tweaked a couple of passages here and there.
So, we have a result. Five and a half minutes of music that took over a month and four blog posts to create (see below). If you’d like to hear the piece live, it will be played by the Patel Conservatory Composers Orchestra on Monday, December 10 at 7pm in Tampa’s TECO Theatre (hope to see you there!)
But until then, this video will have to do.
(I love technology: you get to follow along the score as it plays)
(Even if you don’t read music!)
Thanks for taking this journey with me. Please add your comments below – what do you think of this piece? What did you like about these posts? Should I do this again with another piece in the future? Who do you think would like to read this series – friends, colleagues, neighbors, or anyone else you know?
Let’s take a break from seeing how a composition is created for a moment, because here’s something really exciting for you.
Hand-painted artwork from Malawi
Over the next couple of months I have three pretty important events (amongst many others) taking place around the USA. All three are featuring new pieces of mine, including the Sonata for Chamber Orchestra we’ve been exploring in this blog, a brand new marimba concerto (in which I’ll attempt to play the solo part – should’ve been a bit kinder, methinks!), my string quartet, my wind quintet, and a cute little ditty called Green Painting based on one of three pictures I bought from a legless (literally) street vendor in Lilongwe, the capital of Malawi (You can hear the piece on my Reverbnation page)
Lots going on, right?
Well, here’s the really exciting part:
My composition Wind Quintet 1 just won a Global Music Award and will be premiered at the Madison Arts Festival in New Jersey on Friday, November 23 at 7:30pm. That’s Thanksgiving weekend, and I’m going to be in town 🙂 Let’s celebrate the Award together!
So, if you are an SPB email subscriber or SPB blog reader then here’s something exclusive for you: meet me at 6pm and lets hang out before the concert at 54 Main St (that’s the name of the bar/ restaurant). And be sure to ask the bar staff for a Schmooze! (It’s a non-alcoholic drink – recipe here). We can then convoy up the street a couple of blocks to the concert venue.
Oh, and there’s a reception after the concert, too, for everyone who attends.
If you’re in NJ that weekend, I look forward to seeing you at the concert. If you’re not in NJ that weekend – hurry up & get your plane tickets! 🙂
Well, it’s not an event as such, but it makes for a great blog title, right?!
Today we develop the Main Theme of our piece. In music, a theme is usually a melody but it could refer to an accompaniment or even just a rhythm, but we’ll stick to something conventional this time.
How is a melody created?
My first task is to decide how often to have different chords played. Most of my tonal pieces have one chord per bar (or measure). In our piece, that would mean we play a G Major chord for four beats (a G Major chord is made up of the 1st, 3rd and 5th notes of the G Major scale – refer to last week’s post for info about that, or check out Wikipedia for a communal explanation about chords).
In the second bar, we’d play a different chord, but one that is closely related to the previous one. Perhaps D Major. Maybe then back to G Major, followed by C Major, and for the next four bars, G, C, D and finish on G again.
However, there are other options, and I’ve opted for a pretty challenging one: to make the melody an eight-bar phrase but keep the same chord throughout. It’s possible! A lot of classical era composers managed it, so I’m going to attempt it. Why is it a challenge? It’s going to be tough to make it interesting and likable over such a long period of time.
First, just for reference, the primary (root) note of each chord is placed in every bar in the bass part. I can build the composition from there. In some complicated pieces I’ll add a piano part with all the notes of the chord in it but delete the piano part before I finish.
Now I’m taking the chord of G Major and making up a rhythm as I plug in notes from the scale of G Major into the violin part. It’s that [easy]. Here’s our main theme:
Chord sequence (in bass part) and main theme (in violin part)
Notice how the first two bars repeat in bars 5 & 6 – that creates familiarity and gives the listener something to hold onto. The melody also ends on G, the root of the home key. Next we will add the second theme and expand the exposition, adding things like ‘bridges’ and ‘interludes.’ Exciting stuff! Really !!!
Each have their own special qualities and after a little thought, I thought it would be nice to try Sonata form. I don’t remember the last time I wrote something in Sonata form (and stuck to it) so here’s an opportunity.
At the moment, Sonata form will form the dominating format, although during the creative process unexpected twists and turns can often lead compositions into completely unplanned territory.
Exposition: A main theme (usually a melody) followed by a second theme in a different key*
Development: Both themes mixed together through wildly changing audio experiences, although still always related to the exposition somehow
Recapitulation: The main theme revisted plus the secondary theme in the ‘home key’
Coda: An ending unlike any other. Or, probably like every other.
Beethoven had a really hard time ending his music, so pieces like his famous Fifth Symphony could actually end many, many times but none of them actually do end the piece. Until there are no more chords left.
So, quite imaginatively, let’s call our piece after its structure, “Sonata.” But who is it for? Well, it’s for a chamber orchestra of sorts. Not piano, nor violin or any other solo instrument. So we can expand the title of our new piece of music to: Sonata for Chamber Orchestra. Like it? I do. Don’t like it? Are there any other options? Yes. Lots. Think of a title and put it in the comments below.
I also chose to go with the key signature of G Major. The KEY of a piece of music tells the players what tonality to focus on. In the Western world we have developed a system using 12 different tones that repeat (on a piano, play every consecutive note starting with the left of the three black keys, F sharp(#). You’ll end up hearing ‘another’ F# 13 keys later). From those 12 notes, 8 of them form the basis of tonality – major (happy) scales and minor (sad) scales.
Again on a piano, find ‘C’. It’s the white key immediately to the left of the two black keys. Play that C plus only the 6 white notes to the right, and then finish with the 8th key which is actually another C. Repeat. And repeat. Start with any C and play the scale – they all sound the same only higher or lower. The combination of tones forms the scale, in this case a major scale.
Copy that combination of tones but start on G (G is 5 notes up from C, including C. It’s the white key immediately to the RIGHT of the LEFT-MOST of the THREE black keys. Got it?!). Only this time, instead of playing all the white keys, when you get to the 7th key, don’t play it. Instead, play the black key immediately to the right – that’s right, F#.
This major scale is what will form the tonal foundation of our new piece.
G Major scale
Next week, lets look at the melody, or the ‘Main Theme’
There’s one video out there of him conducting with a toothpick! He has three cell phones and keeps a suitcase of clothing in five cities in the world – at least if his flight is delayed he doesn’t have to wait around for his luggage.
Find out what it’s like to be a truly international conductor:
If you could travel the world doing what you love most, what would it be?