The third between improvisation.
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Another spoken piece inspired by bones, and office drudgery.
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I had a little songwriting energy back, so I took the original Scuffle text and used that as the starting point for this piece. I kept the spirit of the previous video's randomness by improvising the melody and piano part. And by improvising on piano I mean randomly hitting white keys without much consideration for what I was playing. Perhaps I shouldn't have admitted that...
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For this piece I took the theme coffee from the previous day and in some internet wanderings came across Van Gogh's Café Terrace At Night, which I used to inspire this piece. I focussed on the bright and dark areas of the painting and did a three-minute writing exercise inspired by each. I then wove the result of the two exercises into this piece using minimal additional text. I really enjoyed this process, as the painting provided a wonderful source of inspiration. There was so much to tease out of it, and I think I might have to start a series of these pieces inspired by impressionist art.
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I live in Melbourne's southern suburbs, and for those unfamiliar with our city there is a strange North vs South divide that sees people hating on residents on the other side of the river to themselves. I have lived on both sides, and while I was a North-sider I spent a lot of time thinking the South was inferior. But then I moved across town and realised that I much preferred the South, and I barely think about the North at all, except when I have to travel over there to play a gig (which I'm doing tomorrow). Because while I prefer to live South of the river Melbourne's live music scene is concentrated in the North.
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This piece marks the end of week seven. At some point I stopped actively counting the days as they click past, so realising I've been at this for seven weeks is a bit of a shock. By the end of next week I'll have finished my third month, and one whole season of songs. These daily videos are not just a record of my creative output, but also a record of a year in my life going by, which is quite nice. We are coming to the end of Melbourne summer, so as the days become shorter and cooler I am sure my songs will adapt to the new season just as much as my wardrobe will. Despite fluctuations in energy and enthusiasm for the project my body and mind show no signs of quitting, so I really hope I can make through all four seasons of songs.
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This project is making me really aware of the day-to-day fluctuations in emotional and physical energy I experience, and the very real effect that energy level has on my work. I wrote yesterday morning about feeling burnt out, which I absolutely was the day before when I was trying to work on piece #47. Last night, however, I felt entirely the opposite. I was refreshed, ready and excited, and looking forward to an evening by myself in my studio. I had tidied up a bit, which definitely helped entice me into my newly neat space, and I was anticipating the enjoyment of the night's work the same way you'd anticipate the enjoyment of a party. I even indulged the Saturday night vibe with some fairy lights.
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I delved into my experimental self for this piece, but unfortunately my audio recorder didn't pick up much of the water sounds. I was pretty exhausted yesterday, and so I allocated myself a half hour window in which to get the piece done. I used ink from the previous day as a starting theme, and a mind map led me to cobalt blue. Some internet wandering brought up Renoir's painting The Umbrellas, which was painted using two different shades of blue: the first stages of the painting done using cobalt, and later stages with ultramarine. This idea of an umbrella in two shades of blue inspired the text, and my kitchen provided the props.
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This piece is improvised, following on from yesterday's themes of transport and rain. Yesterday it was a car, today a train. I wrote the text first, then freely improvised with it and recorded only one take. While I like spending time crafting and perfecting a piece of music, I also love improvising freely, and there is something particularly interesting about the very first performance of an idea. My composition process involves recording improvisations like this and then listening back to them for ideas to expand upon, but those improvisations rarely make it past a voice memo on my phone. This project gives them a reason to exist as compositions in their own right, and I am excited to develop this part of my practice as the year progresses.
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I considered leaving this to tomorrow morning to record, simply because I would have had more fun if I could crank my amp a bit. Once I start doing that, however, there's nothing stopping me from putting the writing off until the morning too, so I stuck to plan and recorded as quietly as I could.
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I have two younger sisters, and we are close in age and in friendship. My middle sister moved to New York last year, and although the internet makes it easy for us to send little messages back and forth throughout our respective days, it's not the same as having her here in Melbourne. I worked with the theme of distance from yesterday's piece, and wrote this for her. Recording it made me a little emotional, because I miss her, and reminds me of the power music has to move and change us, and make us think. Songwriting, for me it seems, is a balancing act between keeping unhelpful emotions out of the process, while allowing helpful emotions to flow freely through the composition and the performance.
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This piece continues on with yesterday's citrus theme, but used oranges instead of lemons as a prompt. I took the melody from yesterday's improvisation and turned it into a chord, and then transposed it into a nicer key for mandolin.
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I won't write too much tonight, instead I'll direct you over to Rehearsal Magazine, who have just published an interview I did with them this week. I will say that today life took over, and I was left with only a small window of time for today's composition. That window didn't coincide with my feeling particularly creative or inspired, so I forced myself through a few 90 second lyric writing exercises and then improvised with results.
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One of the things you learn while studying jazz is how to be complicated. Every time I write something simple I have this voice in the back of my mind telling me it's not good enough because it's not full of crazy chords or in some kind of weird time signature. It's a ridiculous mindset, as there is plenty of beauty and skill in composing simply, but I really have to work hard to convince myself of that when I'm in the middle of writing and my inner critic is judging like mad.
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There are several recurring themes that are emerging in these pieces, and one is clocks. I don't know why I'm so obsessed with clocks, but they seem to be right at the top of my unconscious mind all the time and keep springing into my writing. This morning while I was teaching a singing student the clock in my studio fell to the floor and smashed. This was completely down to my inappropriate choice of 3M Hook size, yet it still felt somewhat significant. Perhaps the clocks in my house are sick of me writing about them? Or maybe they are crying out for attention in our age of digital devices with time-keeping capabilities. Either way, I chose clocks as a starting point for today, which led me to memories of "dandelion clocks" from childhood - when you would count the number of puffs it would take to empty the flower of its feathers and that would tell you the time
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Day 8, and I still haven't quite got my inner critic under control. It sneaks up on me in the middle of experimenting with an idea and tells me it isn't good enough. Or it's not "me" enough. Or it's too much like something else I've written. Or it's just not very interesting. There's a very strong personal element that comes into play too, the idea isn't good, original or interesting enough and therefore you as a person aren't either. If you let them take over, these feelings can stop any kind of creative progress in its tracks.
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Today marks the end of the very first week of this project, and perhaps the end of the honeymoon period, as it's getting difficult now. It's a little surreal to realise I've churned out seven new musical ideas in as many days, and terrifying to realise I still have to find another 358 to make it to the end of the year.
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