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!
“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.
“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.
To borrow the March proverb and apply it to our domestic and worldwide on-going state of affairs, I like to think that as 2021 ‘comes in like a lion’ it will ‘go out like a lamb.’
In the meantime –
I believe in kindness. Also in mischief. Also in singing, especially when singing is not necessarily prescribed.
Mary Oliver
This 2020 virtual choir video edition of How Can I Keep from Singing makes me feel less alone – its message, its virtual human presence. It seems just what the doctor ordered to usher in a dose of courage, strength and continued commitment to stay the course during these unrelenting times.
Being raised Catholic, and then doing the Jesus People street theatre scene in the 70s, my knowledge of purely Protestant Hymns is limited. Yet, here in the midst of a 21st century Pandemic, it took a Unitarian quilter blogger buddy to introduce me to this encouraging and joyful Hymn (thank-you, Zippy).
My life flows on in endless song above earth’s lamentation. I hear the real, though far-off hymn that hails a new creation. No storm can shake my inmost calm, while to that rock, I’m clinging. Since love prevails in heaven and earth, How can I keep from singing?
Can a 66 year-old woman begin her own designated Hero’s Journey? Again? Is it too late? Rather, is there time left in her life to dive into yet another Path that would surely reveal itself during that Journey?
In many ways, 2020 has been the dead-end to end the multiple dead-ends I’ve hit over the past few years in my creative life. One could say it has been the ending of an unconscious Hero’s Journey.
My generation has always championed the idea of jumping over one’s shadow. Elements of a traditional “Hero’s Journey” are hardwired into my everyday life. In fact, they were supported and modeled by my folks even as my life took shape. So, facing more adventures, twisty, turny changes, and making do are all just part of the mix. Mostly, knowing that in the midst of it all, surviving & thriving are not mutually exclusive and is a precious insight.
Somewhere along my (he)artist’s way, product and validation overtook process and creation. As such, the muse all but disappeared, the gift all but withered.
The focus to finish and get my project(s) ‘out there’ became so strong it obscured seedlings of exploration, experimentation and self-expression. And in the end, with little to show for that absorbing focus.
The good part to all of this is that the stubborn ruts I’d traveled were more easily seen for what they were – not an obstacle to the Path, but proof that I’d wandered from the Path.
So I have corrected my focus. I am firmly ensconced in choosing repertoire based upon pure desire to play/perfect what I want to play – not based upon some audience type or proficiency parameter. And the composing! Instead of keeping it in check so as not to overshadow my practice time and/or exploration of tangential instruments, I am fully leaning into those juicy sessions.
Yes, I have project(s) that are screaming to be ‘out there’. Many are in fact 99.9% ready to go…but I gave myself permission to just not angst over all the odds and ends I’m clearly not knowledgeable enough to do right now to finish them*.
In other words, I gave myself permission to do what I was meant to do: create music – play around with sound – and commune with the Giver of the Gift in doing so.
Meanwhile, this year marked the entry into one of my favorite type of birthdays – one of duplicate double digits. It’s just one of my things.
The last such marker was 5-5 Revive.
Surprisingly, this year’s spontaneously spoke forth as Route 6-6.
What? Taking to the road again, in this time of lock downs, life threatening environmental obstacles and lack of connection?
Yep. Maybe not literally, but certainly in allowing the muse, my music, to lead the way…instead of my dragging it along with me. Be the conduit, serve the Gift and enjoy the process.
If I am the only one to hear or see or understand what comes forth, then so be it.
But I’m willing to bet this ‘Hero’s Journey’ change in attitude might alter that solo scenario come 2021.
*That’s the extreme down side of all this DIY stuff that goes along with being an Indie (he)artist – having to do all the business stuff, packaging, marketing, registering, licensing, publishing, etc; and finding/hiring qualified people to do the production side of things. It simply is not as easily available as one would think. Not whining, just sayin’…
First and foremost, I just had to show off this piece by my friend, Mariss. I’ve long admired her fiber art – and her curiosity about trying new techniques. After attending a course given at the South African National Quilt Festival in 2019 on Kantha stitching (pre-COVID – remember when?), she decided to experiment with the stitch form by making monthly samplers. As she says, “What has caught my imagination is how the simple running stitch can be used to produce such varied patterns and effects.”
Coincidentally, she began her samplers in January 2020 and they have since become a form of meditative creation for her as this year of the Pandemic has persisted & progressed. (click here and here for photos of each month’s sampler thus far)
Changing gears: How about a little help with my poem WIP? Below are two versions of Making Bread. If you feel so inclined, please read through both and then in the comments below let me know which word you prefer. I waffle between the two of them. Oh and, anybody notice the relationship between the Kantha piece above and something else on this blog post? If so, let me know about your discoveries in the comments.
Making Bread – poem WIP version #1:
Making Bread - poem WIP
(LBL - MMXX)
Making bread
I become a Builder.
Hands kneading.
Yeasty gases expanding.
Making bread.
I watch as it shapes a story.
Making Bread – poem WIP version #2:
Making Bread - poem WIP
(LBL - MMXX)
Making bread
I become a Builder.
Hands kneading.
Yeasty gases ballooning.
Making bread.
I watch as it shapes a story.
And last, but not least, just because this is how I’m feeling right now…
