Like a baby being born into an expectant family – the world revolves around that anticipated event while simultaneously continuing to turn daily on its axis.
Such is the life of a working musician – the ins and outs of projects going public and in various stages of completion with the on-going daily-ness of keeping up one’s chops, learning new repertoire, caring for one’s instruments, exploring the wide world of sound adventures while simultaneously creating a fresh crop of compositions/recordings and forging relationships with possible new performance partners.
So yeah, Gracie Needed A New Set of Strings…In Spades. She was neglected in that way. But truly in no other.
Yep, she does!
You’re welcome!
I recently unearthed a song sketch I recorded on my new-at-the-time ZOOM H4n handheld recorder after my literal Swimming with Swans* experience.
It definitely sounded way better than I remembered. Usually it goes the other way around – remembering something way better than it actually was.
Ah yes, after all these years – I hit the jackpot. Hidden in plain sight, I unwittingly discovered the namesake piece for the entire Swimming with Swans: The Music project!
All that to say, Gracie and I have been deeply ensconced in the nuances of deciphering what was recorded and translating it back under my fingers to play upon her lovely neck. Teasing to attention several other12-string pieces queued up for the next recording session (yet to be determined).
Now, if I keep the original recorded intro with those birds chirping in the background…tack it onto the future studio recording when the time comes… 😎
Me, the Prisloe and Gracie, Indiana Coffee Shop Concert Series, Summer 2010**
*This poignant experience occurred during the **Indiana sojourn part of our between homes time (from 3/2010 – 10/2010).
Swimming with Swans: The Music – Goat Suite (Saga) is officially released today, 3/11/2022
Hey Everybody! Take a listen to Laura’s Goat Suite (Saga). It’s all about me & my kids, back in the day. Love, Mama Goat
Brief background of this piece:
Smack dab in the middle of our three-year journey between homes experience, my husband & I lived on the compound in the desert outside Las Cruces, NM, by invitation of family members grieving the loss of a young child. We shared life with various ‘rescues’ of both the animal and human sort. Inspired by our family of rescue goats, their antics and their care for us as we cared for them and initially based upon musical intervals of their bleats, my GS(S) stands as an ‘homage’ to Mama Goat and her kids. In addition, it gives voice to the fact that those of us who have experienced or are currently in a period of displacement in a living situation or even state of mind, are not defined by that but live day-by-day, create works of beauty regardless, and share it with all who will listen.[Dedicated to Justice Marie Norwood (1/30/2008-8/26/2010)- a child filled with light & delight, never to be forgotten.]
Hop over to my Bandcamp page for details on how to order digital tracks and/or physical cds.
…I set an official Release Date: 3/11/2022. I notified my digital distributor* for them to do what they do while I continued doing what I needed to do In the Meantime.
In the Meantime, I finished my Bandcamp storefront with a Pre-Order option for both digital and physical formats along with a free listen to the first movement of my Swimming with Swans: The Music – Goat Suite (Saga).
Pretty nifty, eh? Not just the music (!), but the fact that I can actually embed my Bandcamp music player here in a post on my WP site. Along with that you’ll notice I added a cool button that allows you to ‘Follow’ me there if you so desire.
Now about that Release Date. Yep. It’s still 3/11/2022 for all intents and purposes. However, my distribution service notified me that their side of things will be delayed…so they dropped the ball on the whole ‘release date’ thing as it applies to their delivery to on-line streaming & selling sites.
Oh well.
Because this is my music, my unveiling, my personal pinnacle of an announcement, I still claim 3/11/2022 as my release date. Sooooo…Friday is the party! My distro service may be late to that party, but eventually they will get my music out there where their services promised it to be distributed. I’ll let you know when I get updates on all of that.
In the Meantime, stay tuned here and on my Bandcamp site!
*cdbaby is the (paid for) distro service I’m using for them to send my Swimming with Swans: The Music – Goat Suite (Saga) to streaming & selling companies such as Spotify, Pandora, YouTube, etc. So my music is basically available free for the listening once they deliver the files to those platforms (and others) as well as being available for purchase on platforms such as iTunes, Amazon, etc. According to the latest update from cdbaby, there’s a delay on their end of things for a formal release on the 3/11/2022 date. All that means is that those sites won’t have it available for streaming/etc until whenever cdbaby gets their side of things cleared up. Nothing I can do about all of that – but darn!
Around that same time, I read a post by my quilter blogger buddy, Mariss.
In another few days after that, I got sick with flu!
While I’m making up for lost time and will post an update on GS(S) release date details soon, the above does beg the question:
So, what does all of that have to do with William Blake?
Well, here’s the thing. Until I re-read that blog post and began a comment-conversation with Mariss, William Blake was not on my radar as a creative who faced technical hurdles in getting his poetry ‘out there’. Here now, was a comrade creative from the 18th & 19th centuries brought to my attention who had to tackle similar challenges as myself, an Indie Artist in the 20th & 21st centuries.
Me - Purplely delightful finish, Mariss. I'm wondering what is written on the backside, is it in Africaans?
Mariss - Good morning my sharp-eyed, purple-loving friend. Thanks for the chuckle. It is upside down Swahili. I think it is the brand name/reference number for the cloth…You no doubt surmised that I inadvertently used the cloth the wrong way round, unlike William Blake who purposefully etched his poems in mirror image (for the printing process).
Me - Upside down Swahili - very cool!
I did not know that about Blake – it seems us creatives are always having to learn new and weird skills just to get our (he)art out there!!! This is a huge comfort to me here in the 21st century because I often feel so isolated and impotent in the world of the virtual, techie and thrust-upon-DIY and am constantly having to learn and re-learn stuff just to ‘get anything out there.’
HA!
Yeah, coming up on a snag with some music release stuff. But at least I don’t have to play my music backwards to get it out there (my equivalent to Blake’s mirror writing).
Aside from my obvious reference to an old Beatles gimmick, that conversation piqued my interest in William Blake as an Indie Artist.
1783–1820
English poet, painter, and engraver William Blake epitomized the DIY ethic. During this period, Blake self-published some of his best known works, including Songs of Innocence, Songs of Experience, and The Marriage of Heaven and Hell. He wrote the text, designed accompanying illustrations, and etched these onto copper plates. He then printed and colored the pages to create his illuminated manuscripts.
To clarify: ‘etching onto copper plates’ involved doing everything backwards for the resultant printed product to display content in normal orientation.
Mirror writing – technically called retrography – is the technique of inscribing letters and words backwards. Blake used this skill in order for his poetry to be printed.
In other words: Blake did the extra DIY steps of painstakingly learning methods of distributing his (he)art that went way beyond the scope of being a poet.
And in that, I find a modicum of comfort as a 21st century creative painstakingly navigating an endless DIY labyrinth of getting my own music ‘out there’ on my terms. Even after having released unexpectedin 2007, the internet tools of the trade have morphed considerably. Many are so far out of my league, yet some of them are indeed necessary, and often interesting, to learn.
All of it – in Blake’s 18th & 19th centuries and in my 20th & 21st centuries – takes time, effort and resolve in areas outside our/my desired focus, but necessary for achieving certain (he)artistic goals of ‘getting it out there’.
Indie music is not a genre, it is a method of getting one’s music out into the world in a world where major record labels do not bankroll indie artists.
…my Swimming with Swans: The Music – Goat Suite (Saga) release is on the horizon!
As many of you know, getting my Swimming with Swans: The Music – Goat Suite (Saga) recorded, mixed and mastered with accompanying artwork and copy text for both physical and digital product has been a ‘Saga’ in and of itself. It’s been an ordeal, but worth every ounce of effort!
So, it is with immense pleasure I make this announcement:
My CDs are in the snail mail as of this writing. Physical product is on its way.
I’m thrilled, ecstatic and over-the-top elated. I want to savor this moment before taking a big breath to continue along the actual music release journey.
Please click on the link and join me in viewing this cool 3D rendering of my CD packaging.
Click here for cool 3D rendering of CD
this link has since timed out. But it was very cool when it was in operation!
Perhaps you’ve known other creative (he)artists who seem prolific in their body of work output because they just have a knack for effortlessly releasing it out into the public realm. Perhaps you have a perception that once a piece of music is finished (all the hard work and fun creative aspects of being a musician culminating in a completed form) all that’s left is to announce it to the world by slapping it up on Spotify or YouTube or even passing on the MP3s via email.
Not true.
At least for me.
I have no illusions of being anyone great or super-starish in my music, but I do want to make its presence count. On my terms. In a manner I feel is of worth to those in my ‘world’ who have been waiting with me for this upcoming moment of formal release. And perhaps exposing those outside my ‘world’ to something different and worthy of their consideration. To that end, utilizing media outlets such as Spotify, YouTube and BandCamp are key factors – but need to be mindfully applied.
Similarly, I need to curb my personal enthusiasm and desire to share an MP3 too early or prematurely in the process.
That said, there are still a few behind-the-scenes aspects I’m completing before the time is ripe to formally release my GS(S).
I’ll keep you posted.
Once a formal music release date has been finalized, you’ll be one of the first to know.
And then we can go from there – within reach of that horizon!
“The light shines in the darkness and the darkness has not overcome it.” – John 1:5
These past few years I’ve been heavy on the ‘longest night’ part of reflecting upon life’s unfolding during the winter solstice. So herein I am pondering more of the ‘shortest day’ side of things.
I like sitting this side of the solstice – winter’s frozen heartbeat on the cusp of a new beginning. Almost but not quite on the other side of darkness.
Those are the things any day can bring – and are especially darkness busting on The Shortest Day.
Offerings I grasp onto, hoping to not miss any scrap of sunshine put out there to encourage me along the way through.
This year’s ‘shortest day’ forced its way into my brain. Insisting I pause, recognize and think on the myriad kaleidoscope bright spots, glimmers and slanting glow-rays of MMXXI.
meeting Zippy
for new baby in neighborhood
Michelle’s dissertation & the Beatles
first coffeeshop coffee since 2020
Hubby trying new glasses
first margarita since 2020
Lindsey & Joe got their marriage license!
Aunt Dolores, me, Uncle Dennis
An abbreviated photo collage of a few of those ‘shortest days’ delights. In no particular order, chosen from the easiest files I could access right now…I’m never current or caught up on photo files!!!
From getting vaxxed, which enabled something as simple as getting a haircut and grabbing my first coffee at the new shop in town, to meeting up with a quilter-blogger buddy for the first time face-to-face at her home (and fantastic quilting studio) in NC. Plus numerous road trips made to Michigan and Chicago…mostly for fun, family gatherings, but also one that included sharing the grief with family due to the passing of my Aunt Adua.
In many cases, what was interrupted by 2020’s COVID crisis began to re-start this year in different ways…for our son that meant ‘how to get engaged, married and go on a honeymoon’ during a Pandemic. The beginning of the Pandemic caught him and his girlfriend hiking the Patagonia wilderness – a miracle story in and of itself of how they even got back on American soil…They are now honeymooning in Thailand.
🙂
In conclusion (!), the following just seems to put ‘the shortest day’ and ‘the longest night’ into a sort of musical representation of what I’m trying to convey in this winter solstice pondering – give it a listen.
Your Ma texted me some pictures and a video she took of you playing at your most recent concert. You sat tall and straight and played your part well – without tapping your foot – yes, I noticed! Good job.
A few weeks ago, I won this book for you. I read an interview a writer friend of mine had with the author, Mary Winn Heider, about her newly released book, “The Losers at the Center of the Galaxy”. Learning that one of the main characters was a boy whose best friend was his tuba – I knew I had to enter the contest and try to win this book for you! And I did!
I waited to send it on to you because I wanted to read it, too. Your Ma might like that it has references to Chicago (our shared hometown – we’re cousins, you know). I suspect the football team and stadium described in the book is based upon Northwestern University in Evanston, but it’s still fun to have that Chicago connection along with the tuba connection.
One of Winston’s (the tuba player in the book) favorite pieces to play is Darth Vader’s Theme from Star Wars – The Imperial March. So, I printed out a copy for you. Who knows, you might play it in a concert next year?
I found a very short 1-minute YouTube of a student about your age practicing playing it on the sousaphone. Which as you probably already know is the marching band version of a tuba. You might like to see it here.
I also am sending you a link to the author’s book trailer. This is a very short 1-minute Vimeo video where she talks about her book and shows you how she works out her action sequences – very fun!
I am proud of you Kaden. Keep playing your tuba – it is way cool.
Lots of love & hugs (I get to say that because we’re cousins, too!),
Laura
Thanks to all you music teachers in the schools – you serve as first introducers to the glorious variety of instruments there are in this world to try out and play. And a huge thank-you to L. Marie – you help connect kids with books and readers with authors.
Resources for inspiring aspiring Tuba Players
Let’s start off with this book. It can be found here, here and here.
Free sheet music of arrangements of popular tunes for tuba at various proficiency levels by TubaPeter can be found here.
Your local Tuba Player Musician/Teacher (ask your music shop or school band teacher for recommendations).
“There are more than 7 wonders of the world – he (Stevie Wonder) is #8.”
Angelo Roman
Innervisions – Stevie Wonder
One of my favorite albums during my college years (1972-1977). Here’s a studio clip on recording ‘Living for the City’ which is as fresh and (unfortunately) relevant to today’s issues as it was then… all (he)artistically mastered by a master. What follows is the whole song as recorded on Innervisions.
For a touch of relief in this world of many troubles and plenty of social injustices I end this with Stevie’s “Don’t You Worry About A Thing” on this same album, Innervisions.
Most Celtic music enthusiasts and instrumentalists are familiar with this man’s body of work and prominence of place within the Irish folk tradition.
Long credited as being Ireland’s national composer, Turlough was born in 1670 and lived during the Baroque Era* of Western musical history. That Baroque reference is important to note. While traveling the lands of the Emerald Isle as an itinerant harper, he was in fact a contemporary of Scarlatti, Geminiani and Corelli – all composers of varying prominence of the day.
Put another way: Turlough O’Carolan could be called the Baroque Bard of Ireland.
My off-the-cuff quip notwithstanding, a rich mingling of musical traditions is indeed the basis of Carolan’s Concerto.
“In Carolan’s time, there were three musical traditions in Ireland – art music, folk music, and the harper tradition. The harper tradition served as a link between art and folk music and was the main conduit for the oral tradition. Carolan created a unique style by combining these art forms, and then adding elements inspired by Italian music which was then fashionable in Ireland. He was a great admirer of Vivaldi and Corelli, whose modern music he would have heard in the homes of his noble Irish patrons, and this admiration is reflected in the melodic construction and forms of many of his pieces. In fact, it’s said that his Carolan’s Concerto was a winning response to a compositional challenge from Geminiani, an acquaintance, colleague, and contemporary.”
Shortly before the beginning of the infamous New Year of 2020, I earnestly tackled composing an arrangement of this piece.
I wanted to adapt it for solo classical guitar in like forever and was pleasantly amazed at how it came together so quickly. I even produced two possible endings and put them up for a vote with my son and son-in-law – both musicians.
Consensus: First ending.
My take on Carolan’s Concerto was proving to be a breath of fresh air and loads of fun.
A computer generated playback of my arrangement of the Celtic tune Carolan’s Concerto, written by the blind Irish Bard – harpist, troubadour and composer – Turlough O’Carolan (1670-1738).
It was also too fast for me to play a tempo.
Discouraged, I set it aside.
Until a few weeks ago. That’s when I pulled it out for a re-look and when the ‘obvious’ hit me.
Why not play it anyway? Who says it has to be performed at such a scathing tempo?
Besides, the traditional tempo set for that piece is also traditionally variable.
A lively rendition of Carolan’s Concerto played ‘a tempo’
Here’s the thing:
Not every guitarist is a shredder, lightening fast player. Plus, my arrangement is not a single line ‘solo’ that can be easily ‘shredded’!
Even after properly practicing certain passages of the piece at slower tempos and then speeding them up incrementally I may never get it up to the tempo as played in the above video.
So what?
Play it. Just. Play it.
“Some players are simply faster than others, the way some athletes are faster, bigger, stronger, etc. Still, none of that means ‘better.’ So, find your own performance tempo, and then bring more of yourself to the piece. Remember, you possess your own sound, tone, phrasing, attack, texture, etc. If you highlight those qualities, I promise you, no one will ever complain about the tempo.”
*period or style of Western art music composed from ~1600-1750. A good synopsis of the times, characteristics and elements of the music can be found here.
This vaguely simplistic concept was brought to light a few days ago while staring down an old (as in a piece I put aside years ago to work on ‘later’) arrangement I began, but never finished, for solo classical guitar. Something about it wasn’t quite right back then and something about it still wasn’t quite right, right now.
There were these 3 measures that, well, just didn’t measure up.
In seeing what I’d done previously with fresh eyes, I couldn’t dismiss it as a throw-away. I’d already invested much time and effort into crafting an original arrangement of a traditional Tarantella. It was, in truth, almost finished.
Stylistically, there are many songs in Italy that qualify as a Tarantella – basically a rowdy, raucous dance tune with moves inspired by – you guessed it – the Tarantula. More specifically, ridding one’s self of one and/or what happens after one gets bitten by one (frenzied madness)!
As is typical in folk music, each town, province, heck – family – has their own version of this. I mention family because coming from a musical family, these things get passed down along with the traditional family recipes. But not necessarily in tangible, written down form.
I knew how to play it in ensemble. That’s just a fancy way of saying I could rock out those rhythmic chords on my 12-string acoustic and/or classical guitar to my Dad’s clarinet/saxophone or my former duo partner’s violin/mandolin melody instruments.
But I really wanted it in my personal arsenal of songs to play for fun in a solo classical guitar context.
That said, I knew how my arrangement needed to sound.
I sight-read the unfinished score on my music stand with its errant 3 measures standing out as ugly as ever. Searching for a solution, I reviewed the source materials referenced in the initial creation of the arrangement and noticed something tucked in between the pages of my notes. All those years ago, I had hand-written a 3 measure idea to insert as a possible replacement for the trouble spot.
Sometimes all it takes is a 3 measure fix.
My ‘fix’.
Hmm, why hadn’t I just gone with that in the first place?
This video offers a good example of a player working through various ideas for an arrangement of the most recognizable of all Tarantellas.
