(1) Finally got that huge project concerning the time signature change out of the way. Even got inspired in the process and heard some cool three part harmonies in my head that I was able to add to the score. The result is a 12-page combined vocal, bass and guitar score to my song The Word from Beyond. I’m not only proud of my work, I am relieved and thankful to have finished it.
(2) Really enjoyed the Coffee Talk on Saturday morning. I always enjoy hearing the perspectives of all the religious journalists, and often more so, the atheists who are clearly freethinkers and untainted by dogmatic doctrine.
(3) One of the Kids came over and helped me clean up the house. Got a jump start anyway – still gotta do the bathroom. She sang while she worked, too. Nice to have supportive people in my life.
(4) I agreed with my editor-in-chief to a five-week series on a certain theme, to begin on the 17th and run for five consecutive Wednesdays. Also, my Hobo, Homeless or Houseless piece will be published this Wednesday. So I get six in a row — this could lead to something even better.
(5) I hope you enjoy this rehearsal version of The Urban Elegy that we did yesterday. It’s a rough recording, but the essence of the song is there. You can hear the Wendt Brothers harmonies as well as solos by Zazen and Keva, and four part harmonies throughout. I’m proud of these young Artists. We’re all proud — and I’m grateful.
These are the Wendt brothers, Cody and Ian, both of whom are now playing roles in my musical, Eden in Babylon. Cody wrote this song for a centennial memorial dedicated to Lester Hayton of Palouse, Washington, a city near me in the Palouse Region where I live. Hayton had served in France during World War I under the famous General John Pershing and went missing in action at the Battle of Chateau-Thierry. The ballad is moving and beautiful, and I am very lucky to have both of these musical brothers on my team.
I’ve been succeeding in putting in the three hours a day that I promised myself I would do in order to notate my piano-vocal score, but I have *not* been succeeding in getting the three hours to occur consecutively one after another, or in the same place at the same time each day.
The first day was the best. I found a spot at the Co-Op with a power outlet that was just perfect. I did the first two hours until I noticed I was beginning to nod. So I went home and took a power nap, then returned to the same Spot to wrap things up. My pastor Norman came in while I was working there, and he gave me a good muse.
So, I was extremely encouraged after the first day. Tuesday consisted of three scattered hours at totally different times, and also turned out to be a day (naturally enough) when nothing else was accomplished. Then yesterday, I worked the three hours pretty much consecutively, although I was seeing stars in the third hour. This is probably due to my having to manage multiple choral parts and solos in the gargantuan Opening Number, entitled Intervention(only a mere fraction of it being reproduced on the foregoing link.) But then, I had enough to time to prepare one of the four speeches on the Homeless Experience I’d planned to prepare.
I worked on that speech for six and a half hours, but it didn’t come out too well. I knew there was something wrong with it when I went to bed late last night, but I couldn’t quite put my finger on it. My friend Danielle listened to it, and said it was “pedantic” and that I sounded like I was “lecturing” and that I had “no real feeling for what I was saying;” that is, up until the very end, when I seemed to pour my whole hugely indignant heart into it. She said she liked the earlier speeches on my Talkspage a lot better, because they just sound like “Andy talking for a half hour or so.” (She’s certainly heard Andy talk for a half hour or so, without stopping, many times on the phone in the past.)
Well, I guess I’m just a talkative guy. But I do agree with her perception. I left the speech on the shared link, but I’m going to re-do it once I have the presence of mind. Also, I am committed to getting the three hours of score notating done before I pursue any more pleasant projects. It will be good if I can get myself regularized (fat chance!) and do them concurrently, rather than all over the daily map.
Today, I’ve only done one hour so far, but I’m all set up at the Bagel Shop and about to do the other two. I’ll be done at four, then I’m going to see a show tonight at the Moscow Art Theatre.
So I’m right at the spot at “Intervention” where all the adversarial characters in the Opening sing at once, just before the hook where they are joined by the characters sympathetic to my protagonist. It will be a cacaphonic nightmare if I don’t determine just the right harmonies. But it will be good for me – and let’s get crackin.’
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