September 12 - Back to It

Week 5 for the Theoreticians, the big one with Chords in Major, plus A Minor (Natural and Harmonic), D Major, and Louis Bourgeois's Old Hundredth for dictation, keyboard solfege, and board harmony.

Home again, finishing a re-reading of Aesop's Fables, composing a second page of Psalm 72, and doing the pdf for Stolen Students: II, Op. 25.

April 11 - Tales from the Trips

Write up the 4/8/11 SF Symphony concert at 21st-centurymusic.blogspot.com in the form of a

Goldilocks and the

Three Bears trope and send to Doreen for publication in this Friday's Commuter Times,

then off to DVC for dictation / board-harmony on Paul McCartney's Yesterday, followed by presentation of Cats, Dogs, and Divas: XVI. The Proposition. Coffee and lab time follow, preparing to put Ecclesiastes: X. Dead Flies up at the International Music Score Library Project, composing page 7 of Psalm 52, and recording Henry Miller in Brooklyn: VIII. Love Song, IX. At the Club, and X. Paris.

Home almost simultaneously with Harriet, and, after a time, transfer Crystal Series (Op. 32) via email from desktop to laptop, and bring the Camino Real: Block 7 video up to two minutes.

January 24 - Give It Another Whirl

Ah, there's nothing like the first day of a new semester of Music Theory, with Owen doing a brief pep talk -- too bad the internet doesn't work during the second half of class, but we manage accordingly, with three note values, the C Major Scale in Treble Clef, and musical spelling -- looking forward to getting to know another great class.

Before this it was editing Diabolic Varations: XXX -- with a hexatonic half-step, augmented-second scale (C Db E F G# A) in a free binary form ABA'B' where A is a free canon at the unison featuring a serial-like relationship of rhythm and contour (intervals down in dotted eighths, up in eighths), and A' as its melodic inversion at the third (up in dotted eighths, down in eighths) --

and blitzing to school at this arguably new-improved (actually restored from years ago) earlier start time.

After, lab work (with the early Theory, there will now be access every day!), recording Diabolic  XXIX,

heading back in the

sunny haze, doing a second draft of the Jim Fox Grove American article, checking with Charles Hiroshi Garrett re Dan Becker (looks like I'll be doing his article, too -- now up to an even dozen writings -- probably should hold with this), and creating a video alteration for



Diabolic Variations: XXIV.

December 30 - Into the Future

Begin composition of Psalm 45 ("Eructavit") ("My Heart Overflows"... a combination of the Ambrosian and Gregorian chants on same, in consort with a modal rock bassline i bVII bVI v, approximately utilized in Pink Floyd's Dark Side of the Moom: Eclipse [in their case V], and mixed meters based on phrase lengths [11/8, 19/8...]), do the editing of the Kamran Ince / Tom Moore interview for 21st-Century Music while Harriet is on errands, and --

on a second beautiful

day --

proceed

southwesterly

to

Diablo

Valley

College to record Psalms 43-44 and Diabolic Variations: V-XII.  Return to share dinner and videoize



Diabolic Variations: V.

December 2 - Important Points

Page 4 composed for Psalm 42 ("As the Hart Pants"); student presenters Joe, Anna, and Tyler astound with original jazz, Javanese music, and engaging harmony -- followed by videos of the first eight Mary Variations, amusingly received.



Head back soon thereafter for general catch-up and video of History Phases: XVIII. Claudio Monteverdi (Orfeo: Toccata / Vespers: Deus in Adjutorium).