Proofing!

How did all those errors creep in?

In preparing the new arrangement of Counting Sheep, I added some detail (and altered some of the time signatures), and so I have had it in mind that, the new arrangement done, I wished to create a fresh original-scoring Sibelius file.

Although one might argue that I am merely making more work for myself . . . it turns out that this supposedly-additional task is proving greatly added value, as I find several errors in my adaptation.

Probably, I am enjoying this entire process more than some right-thinking people could quite endorse . . . .

Recap

Apart from some layout clean-up, the new arrangement of Counting Sheep (or,The Dreamy Abacus of Don Quijote) is complete. I find that the piece in no way embarrasses the composer; here is hoping that we finally get a public performance. (Even if so, we shan't hear until January.)

Word is that the Reinhardt University Percussion Ensemble performed Journey to the Dayspring last night with cool assurance.

And it is high time that I finished the clarinet/marimba duet, just what everyone was expecting.

Note taken

This is the first day I've ever punched holes in printed copies of my own choral music.

Report from the Hotel Lobby

The piano, a modest but (in a perfect world) serviceable four-footer, is of a pale pastel grey color, which it cannot be quite happy about. The keyboard cover is clamped shut, and the morning papers are strewn upon the closed lid.

Yes, on the whole: a stylish temporary-media-storage device, rather than a musical instrument. The angels above are weeping.

Dreamy Noisemakers

Though the task be laborious, it is less so (and the resulting score looks better) in Sibelius, now. Curiously, though, I have found something which I did in Finale which it appears I could not do in exactly the same way in Sibelius. As originally notated, the grand balleto quasi uno flamenco often used a composite time signature, 4/8 + 3/16. It seems that such composite meters in Sibelius are obliged to use the same denominating unit note.

I suppose that my workaround might have been 4+4+3/16. But I decided instead to split the 4/8 and 3/16 into separate measures, which yields the incidental benefit of improved flow for the layout.

(As it is, I have other reasons for wanting afterwards to go back to the original scoring, and bring that document into harmony with this "new version.")

The percussionist for the new scoring had been an interesting challenge, and a surprising opportunity. I've pretty much been winging it, so far, in terms of selecting the mallet instrument (where the player is needed for the allocation of pitch material), or unpitched noisemaker in places where it seems an appropriate enhancement to the texture (as it seems a pity to leave the player unnecessarily idle for too long). I've had in mind, though, both timpani for the fullest-textured passage, and a single tam-tam stroke for a key moment ... and to tape the logistics out, it was necessary at last to print out hard copy of the old original.

The History of Sheep (Part IV)

As I continue the process of re-scoring Counting Sheep (or, The Dreamy Abacus of Don Quijote), I have chanced upon an e-mail message with attachment.

And I learn that I sent the score for the original (on 24 May 2010) to a colleague in an ensemble dedicated to new music here in the Boston area - someone from whom I never heard back.

Underscoring two or three great truths for the living composer:

1) It is not every musical group which bothers with new music; and,
2) It is not every musical group which do bother with new music, which will take in interest in yours.
3) And, they may not even give you the least courtesy.

Scattershot survey

Okay, what have I been doing, which I haven't blogged about?

Finally sent movements two & three of the Organ Sonata to Paul, who is soon to return to duty at FCB from his sabbatical. (I had sent him the first movement before his sabbatical started, and he responded positively.)

Had a go at reading the Canzona and Gigue with my new organist, and we decided to reserve them for a later occasion.

Got the Lux Nova edition of the SAB version of Bless the Lord, O my soul prepared at last. Through nobody's fault but mine, that phase of production sat around half-finished since 2009.

Sent both the "noisy" I Look from Afar (with brass, timpani & organ) and Sweetest Ancient Cradle Song for Dan in Iowa to look over. No knowing yet if he'll actually have use for them, but it's a reasonable possibility; and honestly, it feels good just having a respected fellow musician look at the scores again, after all these years.

And making gradual progress (at least even the one short passage per day) on the "Pierrot-plus" ensemble version of Counting Sheep. The piece sounds no less smoking in the new scoring. In the midst of the process, I am finding myself more creatively applying percussion.