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(1) I have been offered a position as Assistant Musical Director of the musical PIPPIN at a regional theatre in Washington State. They also want me to teach singing at their Academy, have arranged for transportation for me to and from my home in Idaho, and have told me that they are interested in my musical.

(2) Hard to top that one, but my Harvey’s Tune has been sent to Harvey Brooks the composer and is sitting on the top of his timeline. My friend George shared it, and a friend of his is a friend of Harvey’s, so it landed with Harvey pretty quickly.  (He hasn’t heard it yet or said anything about it.)

(3) My column on the so-called Afterlife has been published at Spokane Faith and Values.

(4) Found a decent piano tuner who wasn’t overbooked and got my home piano tuned for the first time in about three years.   Really sounds great now, and I’m preparing to do recordings from home.

(5) During an unusually communicative conversation, Keva revealed that if I were to give her a definite deadline, she would be sure to have her work turned in by that day.  She agreed to a deadline of March 27th,.  I then told her to be sure to wish me a Happy Birthday on that day, because it would likely be the best birthday present I have ever received.

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Gratitude List 1800

(1) I created a new piano album called Hyfrydol (after the Welsh hymn that is included on the album).  My friend Kathy designed the cover, and sales of CDs have been going very well locally.

(2) Received a first paycheck for a month of work at the new church, and my student paid me in cash for two months of lessons last Saturday.  So I’m enjoying a distinctly increased income this month (though at the same time, I’m trying to forget about it, so I don’t fall into the trap of thinking I’m “rich.”)

(3) I finished four of the five new songs for Keva and have sent them to her, piano practice takes — lyric sheets, lead sheets, etc.  Don’t expect to hear from her very soon (as her show is opening on November 17th), but I also have been enjoying getting the tunes out to various instrumentalists and back-up-singer types who may be interested.

(4) Found a complete Hal Leonard “Essential Songs of Broadway” book with piano-vocal arrangements of over 85 classic show tunes.  This will be good to keep around in general, and to work with Zazen in particular.

(5) Good meeting with Kurt yesterday, though I sent him a misleading email capsulizing my new theory, and was not able to complete some essential thoughts during the course of being questioned about it.   This is inspiring an exhaustive email that may later morph into a blog post, column, or bigger.  I do enjoy writing on certain themes, and I am thankful for the leisure I’ve been granted to exercise these gifts.

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New Lyrics Update

In a certain school of thought having to do with musical theatre, the composer-lyricist writes the music first — having a general idea what the song will be about — and then writes the lyrics second.

I’ve talked to a lot of singer-songwriters who think this is totally backwards, But there’s a method to the musical theatre mania.

Cole Porter was one such composer. All those great tunes — “My Heart Belongs to Daddy,” “Night and Day,” even “Love for Sale” — were once instrumental pieces of music with no lyrics whatsoever. I am of his school of thought. If I were to write the lyrics first, the music would suffer. I would be trying to squeeze music to previously provided lyrics. As a composer, it would seem as though it wasn’t even my own music. The lyrics would also suffer, because they wouldn’t have the benefit of there being good music already prepared to match them.

Now, I realize that my argument is illogical thus far, because I have made no effort to demonstrate the primacy of music over lyrics in the little world of musical theatre that lives inside my head.

Therefore, I can only make too more-or-less empirical observations:

(1) I very much enjoy finding lyrics that match my previously composed music. Yesterday I did it twice — I finally wrote lyrics to “I Know Who You Are” and “Bone of My Bones” — two songs whose music I wrote in Berkeley in 2016. And Keva’s going to sing them, and I’m jazzed.

(2) Whenever I have written a musical play, people invariably report that among the three main components of a musical theatre libretto — book, music & lyrics — the lyrics are the best. With The Burden of Eden, for example, people mostly said: “Lyrics are outstanding, script is very good, music is kinda so-so.” For Eden in Babylon, it was mostly: “Music is great, script seems all right, but man those lyrics!”

Now I don’t want to toot my own horn here, but if there were ever a renaissance of a culture that had an appreciation for traditional musical theatre mores, I would be right there. Since there isn’t, I just want to thank everyone who has purchased our Keva album, and let you know that the lead sheets to “Bone of My Bones” and “I Know Who You Are” are in her inbox, as we speak.

Two down, three to go.

New Album (Me & Keva)

If anyone wants to support us, click here and take it from there. For $10+ USD, you’re not only getting the five tunes currently on the album, you get the next five for free. Or $3+ per song.

I wrote all five of these songs in the 70’s except for “Daylight” whose music I wrote in 1982 with lyrics added in 2018. Histories of each song are included with the album, along with lyrics to all songs.

The next five songs will consist of stuff I wrote between 2013 and 2016 in Berkeley. It will be a month or more before they are released. So you’re getting a sneak preview.

I’ve removed all free versions from everywhere, except for one YouTube of “Time Will Tell” that’s been widely distributed and well-received.

Please consider supporting this endeavor at this time.

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Water of Life

Not sure how this works as a piano solo, but the idea of getting all the Kids back together to learn the five-part harmonies feels a little bit daunting at this particular time. “Water of Life” from the (unproduced) musical THE BURDEN OF EDEN © 1994-2008 by Andrew Michael Pope.

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(1) Ran 4 miles on Thursday, did 21 push-ups that night (in two sets) and rode 18 miles on the bike out to WSU and back yesterday. I noticed a visible decrease in size on my Aloha video. Lately I’ve been succeeding both in exercising more and in eating less. The latter is very important, as one endeavors to become lighter in every way.

(2) The first two rehearsals of the summer musical workshop went very well. The second one was especially encouraging, involving all the men and Keva. The increase in advance preparation is benefitting us all, and I find that finally I am “in my element” as a vocal director for a musical play.

(3) I very much enjoyed the second regular meeting with Dr. Gier on Wednesday. He’s intelligent, perceptive, and supportive. I like his columns too, as the Palouse Pundit. He’ll also be attending a Thursday evening theology group along with myself and Kurt Q as well, on the subject of critical race theory. I’m honored to be asked to attend these events, where I always learn a great deal.

(4) Music I composed “in my head” in Berkeley is beginning to resurface, and often affix itself to more recently conceived themes. There may be a renaissance of such themes on my new piano videos – beginning with the Aloha to be honest — and proceeding to emerging themes that bear enhanced investigation. I also find myself exercising more creative writing skills, a welcome release from journalism.

(5) It’s 85F degrees even at nearly six in the evening. I may take a stroll in the cool of the evening, say around ten at night. But till then I am grateful to have a nice cool place of my own. That’s not always been the case — and I’m no stranger to the heat.

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Gratitude List 1607

(1) It used to be, people either begrudgingly tolerated me or completely avoided me. That these young people not only do neither — but actually appear to look up to me and admire me — is almost more than my fragile ego can bear.

(2) I’d assumed it was still the heat wave when I first stepped out the door to check my mail at around noon. To my surprise, it was cloudy, cool — and perfect running weather. My sunset run is scheduled to be sweet.

(3) Finished sequencing Sirens of Hope last night – check it out. It’s the opening number to my musical – the Kids will be singing to that track in lots of big harmonies. Lyrics are right here. Thankful for being in the position to move forward with this project, after all these years.

(4) I believe I may have found a good therapist at Community Care. They take both my forms of insurance, and I believe the therapist is versed in issues pertaining to PTSD. We begin on Wednesday.

(5) Meeting with the Professor of Journalism on Zoom in three minutes. Still kinda blown away that people like professors with degrees would even associate with me — but on the other hand, why wouldn’t they? Glad I’m finally going to get some help.

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Hunted

This is a take-off on the song “Hunted” which is the opening number of Act Two of my musical. Tom & I actually did this yesterday, but it was a rush job because of the conditions at the church. It doesn’t really represent the song the way it’s presented in show context. I had to sleep on it to consider whether it might stand on its own. You decide.

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A little bit goes a long, long way. 

Three Minutes Peace

I was recently challenged to improvise on the piano for three minutes without exploding into a fit of passion. I turned on the recorder just as I played my impromptu prelude to last Wednesday’s Taize service, and here’s how it came out:

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A little bit goes a long, long way. 

 

Of Creation and Control

I’m writing on a text file in Open Office. I have the emerging text to The Oracle Sequence open on another file. I’m making a conscious point of avoiding the typical Internet venues on which I write. That means WordPress, DiaryLand, Facebook, Twitter, and all email-related interfaces, such as Zoho or G-Mail. I’m trying to break certain negative associations I have developed with all of those venues, for they seem to be thwarting my progress on this particularly pertinent portion of my project.  Never before have I felt such an enormity in the gap that separates the degree of my desire to progress with the degree of my actual progress, as pertains to a specific project or piece. I want nothing more than to begin making substantial progress on this project. I want the piece to “break.”

But let me explain what I mean by “break.” I use this expression a lot, but I don’t often take the time to clarify what I mean.

ionescoWhenever I am in the process of creating something substantial, my progress seems to proceed extremely slowly for the first several days, taxing my patience. But I endure, for the knowledge that at some point soon, the piece will “break.” When it breaks, it is as though floodgates have been opened. Where the rate of progress before was tortuously slow, all of a sudden I am progressing at a very rapid, steady pace. The process of producing the piece has begun to “flow.” With that sudden huge burst of energy comes a renewed confidence. I no longer brood with the sense that the inevitable break I await will be delayed interminably. Instead, I exult in the creative process.   Whereas, days or hours earlier — or even moments earlier — various aspects of the process seemed to pose nothing but horrific obstacles toward my progress, they now seem to work marvelously in my favor, as if by magic.  And before you can bat an eye, I feel that I am actually completing the piece in question.

You heard me: completing the piece.  The prospect of its elusive completion no longer buzzes about my brain like an annoying insect I can never manage to swat.  Completion occurs readily, rapidly, precisely — and in fact, numerous times

“What?” you may ask.  “How can completion occur numerous times?   You just got finished telling me that until this thing ‘broke,’ you couldn’t even complete it once.” 

That’s a very logical question, and please allow me to explain.  For you see, it seems I’ve substituted one problem for another one.

What happens after the piece “breaks” is that, in my greatly increased productivity, I get from A to Z so fast that my emotions can barely handle the sudden positive turn of events, and I decide that everybody needs to know about it.  So I gleefully send out a “completed” version of my piece to all my dearest friends and family members, hoping they will be as excited at the surprise “completion” as I am.  But then, little do they barely have the chance to open their email, when BAM!  I decide that the recently completed version wasn’t quite good enough; and so I send a second version of the piece; say, Version “1-B.” 

After that, I send Version 1-C, and then Versions 1-D thru F, and so on down the line.  People in my life are suddenly receiving so many versions of some new work of mine, they naturally have no idea when the bombardment will cease, and exactly which of the many versions, if any, they should bother with.  

correlationWhile this is happening, I vaguely sense that there is something wrong with my approach.  Oh, I understand exactly why this pattern has come into being.   The hugeness of the moment when the piece finally “breaks” is typically too much for me emotionally.  You see, I had been frustrated for days, perhaps weeks, all around a relatively insignificant creative project of mine; for example, this polishing of The Oracle Sequence that has come to receive such prominence in my head lately.  But once The Oracle Sequence “breaks,” then to whatever extent that I had earlier been impatient and frustrated, I will now have become just as excited, and in fact, full of glee.  Excited, exuberant, and gleeful.  I feel almost mischievous at that level of enthusiasm.  In that sudden, newfound elation, it will be extremely difficult for me not to burst forth with a constant, incessant gush, exulting in the experience of excitement that so elates me, and exuding that ecstasy upon the world.

But when I do this, I forget that the world is not necessarily predisposed to tuning into the value of my creation at that moment.  Moreover, the world does not necessarily care about my creation — at least not yet. If I want them to care in some future, positive scenario; then probably I shouldn’t be bombarding them prematurely as though to prove my prowess and prodigy in an a priori fashion. Wouldn’t it be better to hold back, until I really have a product worth releasing; and even then, to release it to the world with humility, and grace?

graham_wallasOf course it would be. I therefore must commit myself to terminate my earlier practice, difficult though that termination may be to effect emotionally.   I need to cease to involve all my close friends and family members in my process.   Henceforth I will not even go online, not even to WordPress, but do all my work in secret, offline, where nobody will see me, and where I will nor be tempted to share my work prematurely.  Far better will it be for me to regard this wonderful burst of creativity as a private matter, something that speaks for the ineffable unity of the Creative Mind.   In this way, it is akin to the moment of “illumination” delineated by Graham Wallas in his work on the four stages of the creative process.  According to this model, the previous period of frustration and confusion actually parallels an unconscious process of “incubation,” whereby the piece is quietly being constructed with great direction and progress in the unconscious mind.   The conscious mind remains unaware of this inner process, and in fact believes falsely that nothing is being accomplished at all.  According to that model, The Oracle Sequence is at this very moment being polished, refined, and completed — even as we speak — though in my limited awareness, I feel as though nothing is happening at all.

Obviously, this explanation is pleasant to the ears of the Artist.  But how valid is it, really?  There are other ways of framing this event of “breaking,” this sudden bursting of the floodgates, and the subsequent steady flow of unprecedented Artistic creation.   Some of those ways are not particularly favorable, however, or sympathetic with the Artist’s dilemma.  Take the view often espoused, for example, by those in the mental health profession.   These are those who contend that the Artist is only subject to his mental health disorder, since his pattern clearly manifests the mood swings of manic depression, nowadays known more commonly as Bipolar Disorder.   In this view, the Artist is unable to create while in the depressive phase, because his depression prevents him from doing so, on a basic neuro-physiological level.  When, in my case, I experience the event of the “breaking,” followed by a fast flow of creative prodigy, I am according to the psychiatrist merely in the “manic” phase of my “disorder.”

I am further told that during the depressive phase, the Artist may not even be aware that he is depressed.  This is due to the intensity of his Artistic focus, in which he is completely immersed —  even as he gets nothing accomplished at all.   His focus, after all, is on his Art — whether he is succeeding in manifesting that Creation or not.  So if he is not succeeding, he may well be depressed and in fact rather irritable.  But he does not know this, for his focus is not on his feelings — but on his Art. 

psychiatrist couchThe psychiatrist continues to advise him that the reason why nothing is getting done is on account of his depression.  The depression, claims the psychiatrist, has overwhelmed him, and rendered him inert and immobile with regards to his creative goals.  But the Artist doesn’t see it this way.  He argues that the converse is the case.  The only reason he may be depressed is because nothing is getting done.  And besides, the word “depression” doesn’t quite cut it.  “Annoyed,” perhaps.  “Annoyed, irritated, aggravated, frustrated, impatient, confused, bewildered, and generally out of sorts.   But depressed?   You gotta be kidding me!  Depression is for less inspired, less purpose-driven men than I.”  

At this, the psychiatrist typically only nods her head.  “Give it about a week, my boy, and you’ll be just fine.” 

Be this as it may.  We have the clinical, ultra-behavioristic approach of the detached, unfeeling psychiatrist, dismissing all the mysterious spectacles of Artistic angst with a cold, calculated DSM-V approach to life.   A bit more pleasing, we have the intriguing approach of Mr. Wallas and his followers, an approach that is definitely more Art-Positive than diagnostic in nature.  But neither of these perspectives really assists me in confronting the essential anxiety that I must endure in order to attain to a happier state of affairs.  The one way exalts Art above all, the other poo-poos and dismisses the Artistic character, even hinting at attributing the Artistic Focus to some form of mental illness.  Yet despite this glaring difference in the two perspectives, they both point to one very disturbing factor that they share in common.   In each case, the Artist is at the mercy of a psychic process that is largely beyond his conscious, creative control.  

What is needed, then, is greater control.   

As to just how this greater control is to be gained, please don’t think for one minute that I have not already pondered this question eternally.   There are in fact several text files on Open Office already, exploring this perennial question.  I even draw near to a solution or three, in places.   But let me take my leave at this juncture, and advise you of my findings when they are bit more conclusive.   It may well be that as I complete my analysis as to what it will take to complete my piece, the completion of the analysis may prove to be a more important creation than the completion of the piece itself.

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Anything Helps – God Bless!