“August” a Concept for a Piece for Baritone Voice and Pre-Recorded Playback

While I grew up in Wisconsin, my father’s parents retired to Florida. Accordingly, nearly every year of my childhood, my family would drive in August from Wisconsin to Florida in order to spend a week with my grandparents. This annual trip was something I looked forward to all year long, and these trips were a formative experience for me.

My parents argued and fought verbally frequently.  However, during our annual trips we were all the best versions of ourselves, and generally speaking they were the most harmonious experiences we had as a family. My family loved to travel. Ironically, when I arrived at the airport to fly home when my father was dying, I instinctually got excited as I usually do, anytime I set foot in an airport. Given my father’s love of traveling, I think he would have understood.

These annual car trips were formative in other ways as well. I grew up in an era before the ubiquity of screens.  A one, two, or three-day car trip from Wisconsin to Florida requires somewhat of an internal game. It requires a person to be able to occupy themselves: to converse, read, listen to music, observe, or think. Learning this practice from a young age has served me well. I find that I rarely feel bored. 

Another way in which these trips were formative relates to how I began to think of the nature of time. Our perception of time is fluid.  There are times when time seems to move quickly, and other times it seems to move slowly. There is also the seemly contradictory experience in which hours may seem to fly by while the days into weeks seem to drag (or vice versa). 

Driving through the flat landscapes such as Indiana presents a situation, in which the horizon seems still and unchanging. Meanwhile, the middle ground changes, but at a snail’s pace.  However, telephone poles whip by a a good clip, and if you look directly down at the pavement outside the car, the motion is dizzying. That is the nature of time.  At any given moment time can change to any of these perspectives, based upon our emotions and environment, potentially creating an illusion of time being both rapid and slow.

During my teen years, my relationship to drives to Florida strengthened.  When I was fifteen years old, my Grandmother had a stroke, and was moved to a nursing home, dying a year later.  As a result, my Grandfather was living alone.  At this time, if my father had a few days off from his job as a high school teacher, he and I would drive straight down to Florida without a break, stay with Grandpa as long as we could, and drive straight back. It was often just the two of us in the car, and we bonded very closely on these trips. Once I had my driver’s license, he and I would alternate driving, switching ever three to four hours. To this day, I feel closest to my Dad when I am driving long distances.

Sabbatical: Week 4 Update

Last week’s work really set me up for success this week. I managed to record a dozen fretless bass phrases this week. I recorded one phrase for TriStar, 737, DC-8, and 707. I recorded two phrases for A300, 727, DC-10, and DC-9. Accordingly I only have five fretless bass phrases to record for next week. That being said, rather than get a head start on pedal steel guitar recordings, I may add more fretless bass phrases, or re-record some of the phrases I’ve already recorded in order to have more exciting bass parts.

Again, in the interest of having some visual material to share, here’s the string arrangement for DC-8. In the first six measures you can see arpeggiations of a progression in G major: B7, Em7, CM7, Em7, D7, to GM7. The final seven measures shows a static section where the upper voices slowly arpeggiate a D# diminished chord while the cello stays on an E pedal.

Sabbatical: Week 2 Update

Week two has not been as productive as I had hoped. Part of that is due to labor day, part is due to a trip to Boston on Tuesday, and part of it is due to a cursed plumbing job that would never end. Finally, on Wednesday, the external hard drive I use for recording started acting quirky, so I went out and bought a new drive, and spent many hours transferring about a terabyte of data to the new drive. I am glad to report that that process went well, and all my data is safe.

Before going through my productivity for the week, a bit of background on the project. The album will consist of nine pieces. Each piece is in ternary form (ABA). The lead guitar the drum machines and the automated synthesizers pretty much play throughout each piece. This material is already fairly thick and robust. For the additional instruments I am recording I plan to have them play one phrase for each section. Since I completed work on the theremin recordings last week that means there will be 27 theremin phrases on the album (3 x 9 = 27).

The reason I was able to complete the theremin recordings last week is I went into my sabbatical having already recorded many theremin and bass harmonica recordings. To complete my bass harmonica recordings I only needed to record seven more phrases. That being said, I only got four phrases recorded this week, so next week will be a light week for bass harmonica, and I will likely get a head start on recording fretless bass next week.

The four recordings I made this week were all for B sections, specifically, for: TriStar, 737, DC-8, and 707. I feel that bass harmonica is an integral part of my sound as Darth Presley. I love the sound of a bass harmonica. In fact, in terms of satisfaction per dollar, my bass harmonica is one of my favorite instruments. That being said, bass harmonicas manufactured in most countries are actually quite expensive. There are, however a few Chinese manufacturers that make budget instruments. The instrument I have is a Swan bass harmonica, which can be purchased for under $200.

Since this is a light week, I’ll comment a bit on the string arrangements. As I stated last week, I finished the string arrangements. Over the long weekend I formatted them on paper, and created parts for each of the four instruments. The recording session is booked for late October. The musicians will be listening to a click through headphones while recording, so I should be able to just drop the recordings into place once they are edited and mixed.

Each of the string arrangements covers the transition from the B section to the return of the A section. For each movement, the number of pitches used in the B section is greater to or equal to the number of pitches used in the A sections. To put it another way, the A sections have a limited number of pitches (as little as one, and no more than six), while the B sections tend to have a much greater variety of pitches (at least three, and as many as nine).

In the interest of leaving the reader with an image to look at for the week, I’ll leave you with the score for the string arrangement of TriStar. All of the string arrangements for Rotate tend to have a similar profile to this movement, that is the pitch tends to go up, and tends to crescendo into the arrival of the final section. In this case, that section uses only the note G.