Two more pages (9 and 10) of Part 2 Triple Fugato of Vengeance (three subjects, but only bipartite) from Mice and Men, Act V, Scene 1, prepared for publication (which means the manuscript is finally in the music software program in computer, and can be turned into midi as needed).
The final quiz -- 14 -- in Theory today: Analysis, with musical examples from the 1980's... Philip Glass's Satyagraha (Act I, Scene 1) and Akhnaten (the Akhnaten-Nefertiti Love Duet), and Sting's King of Pain from Synchronicity.
Beyond, it's the lab again, finishing up the editing and mixing of the rest of Halfway Mark -- finished, Hallelujah!
More editing at 21st-centurymusic.blogspot.com this morning, plus preparing for publication page 8 of Part 2 Triple Fugato of Vengeance from Mice and Men, Act V, Scene 1.
Dictation in Theory is The Shire from Howard Shore's Lord of the Rings, in D at the end of The Two Towers, but in E in the sheet music, first four bars with two-eighth-note pickup --
Do Re Mi Sol Mi Re Do Mi Sol La Do Ti Sol Mi Fa Mi Re
-- the first melodic phrase identical to Terra Beata, the traditional English melody arranged by Franklin L. Sheppard in his Alleluia (1915), the melody to the hymn words This Is My Father's World (1901). by Maltbie D. Babcock --
The harmony down at Shore excerpt being
I iii IV I6 IV V I6 V64.
In the lab following, editing/mixing the Halfway Mark cuts before the intermission.
More Philip Glass for dictation, this time from Satyagraha (re Mahatma Gandhi, above -- recent partial NYT review of Met production of which can be found at 21st-centurymusic.blogspot.com), specifically the opening scene -- the marvelous, simple cycle of
F: I bVII bVI V, which (for class) we harmonize traditionally in contrary motion, since no common tones are found between triads a second apart (completely counter to PG's quite lovely parallelisms).
After this, performance of Cecilia's beautiful fourth composition, in D minor emphasizing IV such that one can hear it in G dorian at times, with poignant appoggiaturas and striking stacked chords of 9ths and beyond.
Also beyond, a fair amount of time in the lab, first recording the beginning of Triple Fugato of Vengeance from Act V, Scene 1, Mice and Men.
All of 37 seconds, with footsteps and running and general commotion and two words from Curley ("Jesus Christ!"), as he finds his wife's lifeless body.
Further beyond, begin a concerted effort to produced CD's of last April's Halfway Mark, dealing with Douglas Mandel's fine Peak Pro recording, which we convert to iTunes, transfer to Sound Forge, and beginning editing. By late afternoon, there are 12 files thus far
Op 1 Psalm 6: 1-6 Op 3 Ecclesiastes: 5-6 There Is Evil Op 21 Missa "The a deux": 1 Kyrie Op 24 Orpheus Cycle: 6 Lyre's Melody Op 27 Aerial Requiem: 10 Agnus Dei Op 41 Mice Suite No. 1: 1 Worksong Op 53 Mice Suite No. 2: 6 Deathsong 2 Op 77 Henry Miller in Brooklyn: 11a June's Song Op 107 Out on the Porch: 10 Creole Banjo Player 2 Op 110 Camino Real: Block 12 Op 116 The Pied Piper of Hamelin: Overture ("Rats!")
[after Robert Browning] Rats! They fought the dogs and killed the Cats and bit the babies in the cradle and ate the Cheeses out of the vats. And licked the soup from the cook's own ladle Split open the kegs of salted sprats. Made nests inside men's Sunday hats and Even spoiled the women's chats By drowning there Speaking with Shrieking and Squeaking in Fifty different sharps and flats.
Op 142 The Ring of Harriet: Cats, Dogs, and Divas: 23 Brunnhilde
Back to the land of residence briefly to pick up CD's at local library (Leroy Anderson, Edward Elgar, Paul Hindemith, James Macmillan, Arvo Part, Sergei Prokofiev, Maurice Ravel, Dmitri Shostakovich, Heitor Villa-Lobos, Antonio Vivaldi), plus scores at home.
Then off to San Francisco for San Francisco Composers Chamber Orchestra Board Meeting -- just Michael Cooke, Mark Alburger, Erling Wold, and David Graves -- and we seem to accomplish quite a bit.
Mark Alburger (b. 1957, Upper Darby, PA) is an award-winning, eclectic ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. He is Music Director of San Francisco Composers Chamber Orchestra and San Francisco Cabaret Opera, Editor-Publisher of 21st-Century Music and New Music, and Professor Emeritus in Music Theory and Literature at Diablo Valley College. His principal teachers were Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.); Jules Langert at Dominican University (M.A.); Christopher Yavelow at Claremont University (Ph.D.); and Terry Riley. Dr. Alburger has composed 406 major works over the past 48 years, including chamber music, concertos, oratorios, operas, song cycles, and symphonies. His complete catalogue is being issued on discs from New Music. Alburger's multiple blogs include: markalburger.blogspot.com,
markalburger2022.blogspot.com,
markalburgerworks.blogspot.com, markalburgerevents.blogspot.com, markalburgermusichistory.blogspot.
com, 21st-centurymusic.blogspot.com
