New Website and Blog

All new posts from now on will be on my website > new areas for audio downloads and extra materials.

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”.

Ellingtonian

The closing credits music from the soundtrack (by Mark Isham) of Cool World (1992)
The drumming by Terry Bozzio is extraordinary.
I was lucky enough to play on this session (in Munich); the film might not have done so well but the music is excellent.

Carter 100

Elliott Carter is, I believe, the first "famous" composer who has composed a piece for his own centenary.

The Astra Chamber Music Society in Melbourne is putting on a concert a few days before his actual birthday featuring the Brass Quintet (Program Note - pdf download), written in 1974.

ECQ
Tristram Williams (trumpet)
Mark Skillington (trumpet)
Geoff Lierse (french horn)
Bob Collins (trombone)
Charles MacInnes (bass trombone)

We formed this ensemble in 2002 for the express purpose of learning and performing this demanding work. We gave several performances (for Astra, VCA, and at the MIFB), and are now doing it again in honour of the 100th!


To help us become familiar with the metric modulation of the work, I made a click track.
CLICK here to listen to (or RIGHT-CLICK to save) a low resolution MP3 (56 kbps/16'41") of this file (7MB) - caution - do not use this link if you want to hear any music; this is for learning purposes only!

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.

upcoming Workshop

SOUND with guests Michael Kieran Harvey and Kanako Okamoto
Tuesday 23rd September 12:00 - 1:30 in Room 113 VCA
First reading and discussion of new work for trombone, electric bass, and piano.
Charles MacInnes (trombone)
Jeremy Aslop (electric bass)
Michael Kieran Harvey (piano)
Kanako Okamoto (composer)

SOUND was formed in 2006 by Charles MacInnes (trombone) and Jeremy Alsop (electric bass guitar). We created the group as a vehicle for our own compositions, spontaneous playing, and explorations into, well, sound! The group recently received an Australia Council grant for the composition of a new work. Having performed in galleries and as guests at several universities we are now embarking on a series of collaborations with other musicians, visual artists, and writers.

On the 23rd we are presenting an open rehearsal with Japanese composer Kanako Okamoto, who has written a work for Michael, Jeremy, and myself.

We envisage this to be a valuable workshop experience for advanced student musicians and composers in their search for creating a new ensemble aesthetic that puts interaction and sound at the forefront.

I would be delighted if you could pop in for some or all of this event, or indeed if you have any students who may be interested in hearing and talking to these musicians, please encourage them to attend.


*

Queen Victoria's Mash Up...

or the Susato Sandwich?

Have just returned from playing a 10-piece brass gig for the MSO which farewelled the Queen Victoria from the Melbourne wharf.

You know how certain club owners have to be asked a couple of times to switch the house music off because, like, the band is back on stage? Well, we had that on a large scale tonight. We were getting stuck into the hits of the English brass eighties with Susato Suite, Three (or Four) Brass Cats, and something by Ray Premru when the ship PA started blaring the hits of downunder out at the same time. Slim Dusty, Men At Work, Midnight Oil and some others I think.

Anyway, the client was nice enough to slop a bit of Yellowglen into our plastic cups and the band(s) played on, fought it out.

What did it sound like on deck? Was this Melbourne avant-garde at its best?

.....Bon Voyage

Revolt Against The Pod: Part 1

Rediscover The Stereo

Bought a beautiful 1980s Luxman CD player at Savers for $17. Got the Harman/Kardon amplifier repaired, dusted off the Danish speakers, found the old Monster interlink and speaker cable.

Beautiful warmth, incredible clarity.

Conclusion:
Computer CD players sound bad, and MP3 should only be used if music merely serves as cheap sunglasses for the ears.

Mop and Bucket Technology

I’ve just bought a beautiful, expensive, wonderfully designed mop with matching sturdy plastic “clamping” foot operated bucket (despite being an obsessive cleaner, I don’t know the mop/bucket equipment jargon…yet).

Before the floor mopping operation there is a general sweep with a nice wide-headed-bristled yard broom. The treasures, once herded together into piles, are encouraged into the bin with the help of a sleek brush and pan, whereby the brush has a revolutionary rubber flap embedded in the bristles. This means that nothing escapes.

The mopping itself is a pleasure (recommended cleaning solution: Grön Såpa - click the picture to enlarge) and dries very quickly. Rinse mop well, and leave it to air outside.

The whole process involves little more sweat than a superficial vacuum, but the results are far superior. You can feel a clean floor with your feet.

When computers started getting fast enough to start doing "the music thing" properly, a friend and I in Germany spoke about whether to go down that track or not. The usual arguments and questions. It’s expensive, you have to keep upgrading, does it really save time?, the brass sounds are crap, etc.

Carol A introduced me to the Tools and Materials Metaphor, which I selfishly applied to justify my computer greed. I bought a Powerbook 3400. Ingolf B got a grand piano, wad of manuscript paper, and a nice sharpened lead pencil.

Equipment List

Boring

Instruments: Fuchs-Conn 70H / Conn 78H (both 1937) & Schilke 59 / 50

Microphone: AKG 414 B-ULS

Monitors: Genelec 1029A

Mixer: Mackie 1202-VLZ

MIDI Controllers: Behringer FCB1010 / Faderfox LC2

Software: Ableton Live, Pro Tools

Hardware: MacBook Pro 2.4GHz

SOUND (DUO)

formal information about my duo

Trombonist Charles MacInnes and bassist Jeremy Alsop formed the group “SOUND” in 2006 as an ensemble vehicle for their own composition and music creation. Their music has always been a matter of convergence of techniques and materials. It does not discriminate between improvised jazz, electronica and contemporary chamber music.

Alsop has extensive experience as a studio musician since the 1980s, having played on hundreds of TV commercials and with prominent jazz artists in Australia and the US. He is also a keenly sought music producer and recording engineer. MacInnes has played with orchestras and new music ensembles both in Australia and Germany, and is currently visiting lecturer in trombone at the Australian National University in Canberra. Both are gaining recognition as composers, with growing requests for works from musicians exploring music that overlaps the usual stylistic delineations.

SOUND explores the association between electronics and the human to create an aural space unique to the contemporary listener. While many of the pieces rely on the presence of the laptop, its role is anthropomorphic; in other words, it is always part of the orchestration and is never used gratuitously.

The program consists of one hour of music without breaks, and is ideally situated in an intimate to medium-sized venue. Program notes are made available, if appropriate. Recent performances have taken place in galleries, arthouse cinemas, universities and generally attract an artistic audience with a wide demographic. The group’s first CD is nearing completion and will be available in 2008.