Henning's Headquarters

[Karl Henning]

I do not absolutely say that it was the best use of an afternoon, but it is pretty much what I meant:

http://www.youtube.com/v/PaSStlKXl9Q

[Karl Henning]

While I deny that I am going "full Boulez" here, I think I should try again (the mix, not so much the source material, in spite of the fact that we might find frequent and reasonable fault with the 'video performance').  Triad rehearsal tonight, so I doubt I shall assay it this side of Tuesday evening.  The level is generally too low, I suppose I was overcautious, knowing how when I combine tracks into a single mix, the volume is apt to get out of hand (it did not, in this case).  But also – and I did not notice this until (rather strange to relate, really) I watched the video on my TV screen – the synchronization of audio and video is a little off. It is a lesson to me, to make sure I am testing at full screen while yet on the laptop.

Yesterday's rehearsal of Rejoice was good, a lot of hard work for my handbell choir . . . the combination of three factors (the piece's rhythmical quirkiness;  using mallets rather than just plain ringing the bells;  and each member being responsible for three bells rather than the usual two) is the driver for the need to rehearse harder than is quite normal for us.  But they are all having fun with the piece, so they are engaged.

What is undeniably an agreeable sign:  while my head rested on the pillow last night, the next Scene for White Nights came to my inner ear quite clearly;  and I began the scribbling on this morning's bus.

[Karl Henning]

Okay, so I just wanted to see to it today . . .

http://www.youtube.com/v/pbbDOtIzuH0

[Karl Henning]

http://www.youtube.com/v/pbbDOtIzuH0

But, if there be any for whom the text (in whatever sense) is an obstacle, I shall prepare a "Tooth Fairy without words" sound file.

[Karl Henning]

Not at all the adventure I should have expected, a month ago . . .

The cellist whom I have interested in my vc/pf music (she and the pianist are prepared to go into the studio to record the music, if the money for the studio and technician can be raised) also conducts a group called the No-Name Orchestra – the site gives you essentially all the info I have about the group.  I had a sense that participants in the Orchestra formed a large part of the audience for Marshunda's recital, which was the occasion for our meeting.

Yesterday, a message came from Marshunda asking if I am available on Saturday the 19th to play clarinet in Mussorgsky and Ravel.  In a sense, it is perfect:  it's an excuse to play some more clarinet, and it is repertory (1) which will not demand a ton of preparatory practice on my part, yet (2) in which I can likely shine (show off).  And, more networking.  So, this composer/clarinet has much to be grateful for.

[Sergeant Rock]

But, if there be any for whom the text (in whatever sense) is an obstacle I shall prepare a "Tooth Fairy without words" sound file.

No obstacle for me. I loved the spoke word...pure poetry. Reminded me of a beat recital accompanied by jazz. Great stuff, Karl.

Sarge

[Karl Henning]

Hearty gratitude, sieur.

[Karl Henning]

As I (at last!) reopen my White Nights folder, I find that the musical material I have been forming yesterday & today will not do for Scene 11 (Night the Third), but will be perfect for Intermezzo III.

I shall let things percolate a bit yet.

And let me go ahead and "announce" that in recent chats with our much-missed Luke, I have pressed him with an invitation to write a duet for Peter & me to play.

[Karl Henning]

Made a start on a piece for clarinet and strings.

[Karl Henning]

Okay, so I just wanted to see to it today . . .

http://www.youtube.com/v/pbbDOtIzuH0

I'm not sure I've spelled this out before . . . the audio is three strands:  the text, of course;  the trio, which is live-plus-MIDI, an experiment in taking MIDI extractions of the "accompaniment" parts (and treating them) and recording myself playing the principal part (and, honestly, I mean to putter in just that way more in future) . . , our parakeet's good-natured interjections originated in the clarinet recording;  and (treated practically beyond proper recognition) samples of myself singing, built into a kind of background choral track.

Not that I minded in this case (since it is "buried" in the mix) but my performance against the mechanized accompaniment is less "together" than I should normally wish.  Part of the reason is, I had not anticipated the session, and so I did not have my part printed out;  I recorded myself reading along with the rolling Sibelius file, and therefore I could not "read ahead" as I always, always do when playing, i.e., cast my eye a few measures ahead as a reminder, while I am playing (say) measure 18, of what measures 22 & 23 will look like.  As I say, in this case especially, I did not care about imperfections . . . after all, members of an actual human ensemble sometimes drift mildly out of synch and then recover.

It is an experiment with which I am almost entirely satisfied, and upon which I intend to build.

[Karl Henning]

Some more of Deep Breath.

[Cato]

No obstacle for me. I loved the spoke word...pure poetry. Reminded me of a beat recital accompanied by jazz. Great stuff, Karl.

Sarge

Amen! 

A possible ancestor:

https://www.youtube.com/v/veB0UkFuRls

[Cato]

Made a start on a piece for clarinet and strings.

And a most excellent head start it is!  0:)

[Karl Henning]

Thanks!  I did some more sketching on the bus this morning.

[Karl Henning]

Thanks!  I did some more sketching on the bus this morning.

Incorporating yesterday's work:

[Karl Henning]

Incorporating this morning's work:

[Mirror Image]

Here's a question for you, Karl, and I know it'll require a bit of time to respond, but here it goes: how would you say your music has evolved from when you first started composing to our present day?

[Karl Henning]

Let me mull, John.

And, the present score:

[Karl Henning]

And more.

Edit :: old version deleted

[Karl Henning]

In my verbal notes from Thursday (?), I listed one section as cl murmurs and 'allotted' it 30 seconds.  I had not then formed the specific musical matter, just had a rough idea, and the scribble was meant as both memorandum and springboard.

In the score as attached here, this is the passage from m. 145 to the 'end,' m. 167, a passage which runs nearly a minute, i.e. much more than "planned";  but that 30" was not a fixed plan, just part of the rough idea.  And the fact is that if this section stops hard at m. 167, it is of course too abrupt;  I felt it needed a compact rhetorical answer, which I did compose this morning before beetling off to work.  Did not quite have the time to attach the fresh score.

(Honestly, I got 'bogged down" with the routine of exporting the sound, and getting that mixed for my mp3.  Well, I didn't get 'bogged down'; after the mouse-clicks, I left the machine to its huffing & puffing, while I then saw to my pre-departure requisites.)