SoundArt

We presented a piece today at University using composer and performer indeterminacy.





Casey, Tom and I created the score, then interpreted it (freely and using instruments in unconventional ways). Although “easy” at first glance, there are a whole range of problems to be dealt with in coming up with “chance music”, not dissimilar to the problems encountered composing in general. Questions of structure, balance, interpretation, sound, communication, and hardest of all for (us square!) musicians - making the dramatic elements work.



We attracted a good little crowd of passers by, and the cleanup was assisted greatly by the rain. Our tutor was a bit concerned about my stipulating that the score may not be reused (i.e., any future performances must include the creation process all over again), but maybe one could open it up to an audience auction at the end. To cover the cost of materials, or donate to “cultural causes”.

Sportsmanship

silence = violence

Went down to the playground near the beach yesterday and happened to see a bit of junior cricket (under-14s?) at the oval.

I saw two dismissals. The first boy came off the field and threw his bat 3 metres, swearing, and ripped his pads and helmet off. The second (soon after) smashed the stumps over with his bat, and did the same performance off the field. Nobody did or said anything - not the umpires, coaches, parents, nor team mates.

I never saw anything like it in 6 years of junior cricket playing.

Are these little fellows copying their professional counterparts? Or their parents? Why didn't anybody at least approach the second little batsman, as he sat alone for the following 20 minutes with his head in his hands?

The parents and coaches evidently think the violent displays are normal and need no comment. They do not have the skills to comfort or talk when it is most needed. I imagine them saying to one another:
- he'll be right
- let him work it out on his own
- he's a bit upset, leave him alone

Silence is the greatest form of violence - and these young people are not learning to express themselves; to communicate how they are feeling. These gatherings show what an aggressive society we are. You see the cowardice, the inability to communicate, the uncontrolled angry outburts, then the internalization of pain. The playing didn't exhibit any characteristics of togetherness, teamwork, mentorship, or respect that are so often espoused as being benefits of sport.

Wry Practice

Practicing in a virtual world

I couldn't play for almost a week because of some unexpected neck problems (spasm of the sternocleidomastoid muscle). One of the host of doctors and physios I saw, who has dealt with musicians before, said that practice can be just as effectively continued without actually playing.

She said I was to stand or sit, use the metronome (or whatever props), and spend time hearing and visualizing myself playing beautiful music.

I did this. When I picked up my trombone this morning and played again I have to say that everything felt fine (except the neck!). I wasn't bothered by the usual "oh this is going to sound and feel shithouse" thoughts. Of course the muscles, the ears, the instincts still know what to do.

Who was it who told me that I have to do this certain amount of practice everyday? Is it self imposed control? The talking muscles still know how to talk after a vow of silence, surely? Not that I would know anything about this.

Some of the best musical lessons and insights come from non-musicians, or at least non-brass players. One of my uni trombone students was asked recently, while being coached on some Mahler Lieder by a repetiteur:
- Can you change between those two notes without moving the slide?
- It's not physically possible
- Do it anyway
He did it, and she said:
- That's the legato I'm talking about

I also remember doing a cruise ship gig with a chamber orchestra once, where Christian Lindberg came on as guest soloist. I was up at the pool caring for my Verve Clicquot aftershocks. He was next to me in the deck chair, "virtually" playing through the pieces he was learning for the following week's concert. Whistling, singing, playing the positions with all the attention and focus of a performance.

I'm not saying all this to advocate a downing of tools. But, I am beginning to realize that all the practice in the world is wasted if the underlying musical and expressive intention isn't there. And precisely this is best practiced away from the horn. It's musical meditation.