Archive for February, 2014

1)      Why should you care if I choose not to develop a musical idea? If you have no expectations prior to listening and/or analyzing music, you would merely enjoy the moment.

2)      Why should you care if your own ignorance forces you to question what key the music is in? Perhaps you are limited by your intelligence. When engaged in a conversation, do you ask the same question? Is not a conversation also a dialogue of sound?

3)      Whether I choose to write tonal music or not is my choice. Each new work of music has its own aesthetic; its unique character. Whether I choose a Karnatak mode, a mode of limited transposition, a mode of Kasuf, a set; or whatever device to construct my music, it is totally my decision. Creativity has no regard for academia.

4)      Various components in academia stifle the growth of original ideas, suffocating the potential for true innovation.

5)      The ability to explain ones course of action, throughout a process of happenings; that is truth. Thus, the process and capability of explaining one’s music; the why’s and how’s of one’s choosing…that is scholarship; that is truth. Why must anyone follow someone else’s truth, when you’ve got your own?

6)      Whether or not my music speaks to you; or yours to me…whether or not you like my work should not be judged according to your education/indoctrination. This new/strange experience for you is yet another opportunity to expand your intelligence. Why avoid it?

Do you not also expect people to listen to what you’ve got to say?

7)      Whether recognized as a composer or not; whether my works are ever programmed or not, I will continue to write. For by such endeavors arises the master craftsman. The stress and inhibitions encountered by most composers are imposed by the ignorance and expectations of others.

Over the past few months I’ve revised several orchestral works. After re-working Symphony No. I (Empire of Kasuf) for about the 40th time, I’ve got my chops down!! I went on and tackled several works that suffered from weaknesses only I could treat. It would be a blessing for any composer to have a comrade who is willing to get into his or her music, pick it apart, criticize it, and make constructive criticisms……..after realizing one’s musical aesthetic/vocabulary. While this is one of the ultimate dreams, the reality is a composer must dissect their own music and bring out the best in it.

After much deliberation with each work, I was able to get at the core of the work, and make the necessary adjustments.  This all leads to The House of Price, which was written for string orchestra, and inspired by various Vincent Price films. The work utilizes Messiaen’s third Mode Of Limited Transposition to express its horrific/dramatic hue.

There were several notation errors within the work that either went unnoticed, or simply no one cared enough to point any of them out to me.  in any event, I’ve uncovered them.  And, in the words of Bruce Lee, I’ve found the source of my own ignorance. With that being said, The House of Price is an exceptional work; a musical thriller! It’s the underscore to the Vincent Price film that never was. Perhaps it will end up in a major motion picture?