(For this month’s Slice of Life Challenge with Two Writing Teachers, I am aiming to do Six Word Slices most days, with some extended slices on other days.)
Context: The last few days, I’ve had three different musical projects in my mind, all different yet all interesting. The first is a collaborative song I am working on with someone I don’t know, through a partnership via the Mastodon social network as part of a second round of a music project known as The Whale’s Lantern. Participants get paired up with others and the task is to write and record a song. My partner is Luka, a professional musical engineer and musician from the other side of the world (from me). We’re getting to a nearing point with our song, which we are writing and recording remotely. The second is a Christmas song that a friend and I wrote many years ago, but he has always wanted to have it produced rather professionally, so he has been working with a local music producer, and a demo that the producer created of our song (I wrote the lyrics) is stunning. We’re going to see if the two of us can do the main singing on it, but I am skeptical about that. The third is a personal tribute to a CLMOOC friend (who may even read this) who lost someone close, and shared some writing, and I felt inspired to write a song for him, with his words but also expanding the theme of the song a bit. I obsessed over it yesterday for hours, finally getting a demo down. Three songs, tumbling in my head.
For the last six months or so, I have been writing in and exploring around Mastodon, a federated social networking space that is free from corporate structure. Federated means there is no one central server or space where people are located. Instead, there are “instances” where people connect to and write from (instances are hosted by individuals and most instances have a theme). All instances can share across the larger Mastodon network. I know that will sound confusing. Upshot for me: it’s becoming a neat, creative, connected space that is more than just an alternative to Twitter.
In late September, someone in the Mastodon timeline put out a call for musicians to collaborate together for an album project. They hoped to leverage the connected element of common interests into a music project. I took the plunge, and became part of what is now known as A Whale’s Lantern project — a collaboration of musicians who have made music through the Mastodon network.
While I didn’t know who I would be partnered with, as names were drawn randomly, it turns out I was paired with a friend from other connected spaces: Laura Ritchie. She’s a cellist and music teacher and wide-range thinker.
Yesterday, our “album” was released on Bandcamp. Laura and I worked on a song that I wrote called I Fall Apart (Like Stars in the Night) and the whole group of us, including some of who didn’t get time to finish their collaboration, are in the midst of writing up our reflections. Collaboratively, of course, and hopefully, it will be published in a Mastodon open journal called Kintsugi in the future.
I’ve been listening to LCD Soundsystem and paying attention to how James Murphy builds songs off hooks and synths. The other week, I jumped into one of my favorite music programs (Soundtrap) and began building a song, imagining people walking down a city street with all the hustle and bustle, and destinations in mind. The pauses are moments of waiting for the street lights to change for crossing.
I was following a number of threaded discussions over the weekend on Twitter, about Twitter. Concerns about its negative elements (trolls, privacy, etc.) versus its positive elements (connections, discussions, etc.) continue to play out in all sorts of ways.
My friend, Sherri S., wrote a blog post response to George S.’s observations that criticized Twitter as a narrowing space of echo bubbles we create for ourselves (I’m summarizing my reading of his points), and I found her deep dive interesting. So I took her words for a walk in a remix version (which sparked its own discussion on Saturday about the value and rationale of remix).
And that conversations lingered in my mind, as I sat down to do some songwriting yesterday. I can hear it in the lyrics of this new song — Worlds Fall Apart — about the idea of starting over, and building something new.
Maybe I had Mastodon, and its federated ideas of freedom from corporate control of social media spaces, on my mind as I was writing. Or maybe it was the watching of the first Mad Max with my son the other night.
This is the second Making Music post this week. I have at least one more coming. I’m suddenly finding myself back to some songwriting and thinking about music making, at least for a bit.
I challenged myself yesterday. I had about one hour alone with an empty house. Could I write and record a new song in that time?
I grabbed my guitar and sheet of paper, sat on the floor, and started writing. What came out was this song: My Compass Pointed North. It may nor may not be inspired by the images of the mass evacuation going on down south right now. I quickly set up my microphone and recorded a demo. It came out OK, I think.
In an email this week to Karon, Wendy and Ron, I noted that if this project I am describing here were all that came out of CLMOOC (Connected Learning MOOC) for me this summer, I would be quite content and satisfied. (Happily, there is much much more coming out of CLMOOC this summer). These three friends of mine all collaborated with me on a musical piece called Coloring the Muse that arose from the theme of art and coloring during the first Make Cycle, and then was transformed by our collaboration.
Let me explain .. but first, let me share the project itself ..
This project all began with our explorations of color in the first Make Cycle of CLMOOC. Much of that Make Cycle centered on the Collaborative Coloring Book project. At one point, though, Karon and others, in our Google Community, shared some links that connected the color spectrum to the music spectrum, linking how we hear sounds to how we perceive colors. I found that fascinating, and began to think about how one might “paint” with colors to make music.
But I wondered if we might take the song into Soundtrap for some live collaborative recording. So I did, and I invited Karon and Ron (whose many talents include art and music via keyboards and programming) and Wendy (also a talented artist and musician). Soundtrap allows for distant, and global, collaboration on musical tracks. Ron is from the Netherlands, Wendy is from Australia and Karon and I are in the US. Perfect.
As I began laying the first tracks, though, I kept the main melody line and some of the harmony ideas, but didn’t exactly follow Karon’s compositional ideas. Instead, we played with the song, using Karon’s ideas of variations as a springboard, weaving percussion and counter-melodies throughout. I added some alto sax after Karon wrote out the parts, riffing off the main line at times, and using some sound effects to create a layered variation. There’s even a bit of planned dissonance, creating tension. The ending of the song is a piano part that Karon composed, but the track is actually the compositional software’s version of the piano, with Wendy’s clarinet as melodic accompaniment.
I also knew that I wanted to use the song as the soundtrack to a video with color, and I spent some time trying to find a way to do that. I could have done something more original myself, with iMovie or something, but I had this vision for an idea that I could not create myself, with colors dancing in time to the music. I ended up at a site called RenderForest, which has some neat templates but it is rather expensive to use if you want a video without their intrusive watermarks. I did find a coupon to discount it, and plunged to pay, since I really felt driven to have this color visualization be the visual for the music inspired by color spectrums.
Here’s a book that hit a number of buttons for me. It’s about music. It’s about songwriting. It’s an oral history project. It’s an inside look at how creative people are creative. Anatomy of a Song: The Oral History of 45 Iconic Hitsby Marc Meyers is apparently a riff off a Wall Street Journal column he wrote, diving deep into songwriting by interviewing the writers, producers, engineers and musicians behind some iconic music. (I didn’t know WSJ had a music column, did you?)
I really enjoyed Meyer’s approach here, as he brings the voices behind the scenes up in the mix, so to speak. I knew most of the songs, but not all, and he stops at REM’s Losing My Religion, arguing that 25 years have to go by before one really knows if a song reaches iconic status. I’m fine with that.
It’s intriguing to hear the stories behind the songs, of where the inspirational lines may have come from or where the melody or harmony originated, and the process that goes into the writing, recording and engineering of songs that become the soundtrack of our lives.
Anatomy of a Song covers quite a bit of ground — there are 45 chapters, sort of like a 45 spinning on your old record player — from Lawdy Miss Clawdy by Lloyd Price to You Really Got Me by the Kinks to The Harder They Come by Jimmy Cliff to Heart of Glass by Blondie to Time After Time by Cyndi Lauper and more. You might quibble with his selection, but I didn’t mind.
(This is for the Slice of Life challenge, hosted by Two Writing Teachers. We write all through March, every day, about the small moments in the larger perspective … or is that the larger perspective in the smaller moments? You write, too.)
We have a relatively new bass player in our band. His name is Brian and we are all impressed by his chops, and focus, and kind personality. Turns out, he loves music, just like us, and he is dedicated himself this year to doing even more music. When I learned that he has a home recording studio set-up at his apartment, we connected with a plan to try a little recording of some songs outside of the band setting (but let the band know).
Yesterday, I drove over to Brian’s pad, and for about two hours, we talked about music and did some recording of scratch (rough) tracks with my guitar and my (still-sick) voice and two songs from a collection of songs that I have been writing for a few years as part of a much larger narrative project with poems and stories and …. oh, who knows anymore.
It was fun, though, recording again, and I am curious to hear what Brian does with the tracks. I explicitly gave him full permission to do what he wants with the guitar and vocal tracks, so he can feel free to experiment and add layers. We’re hoping this partnership extends into more formal recording down the road.
For now, for yesterday, it was just for fun. Sometimes, that’s the best kind of music to be made.
(This is for the Slice of Life, hosted by Two Writing Teachers. We write each Tuesday — and all through March — about the small moments in the larger perspective … or is that the larger perspective in the smaller moments? You write, too.)
In the days after the protest marches in Washington, I started to write a song about what I was seeing here at home, and how I was galvanized by the gatherings. I recorded a raw demo, but I knew I wanted to do something more with it.
So, when I had time to myself the other day (ie, family was out of the house and the world was silent), I finally got to record the song more properly, and I am happy with how it came out. When I first started writing songs, in college, all I wrote were protest songs, and my band would play them on campus to small audiences (mostly friends). That was during the Reagan years. I wonder if the Trump years will spark a new age of protest songwriting …
My musical/songwriting and Western Massachusetts Writing Project educator friend, Michael Silverstone, wrote and recorded and shared out a beautiful song about love last week called To Give Our Love. I paid for the download via BandCamp and then asked if he would allow me to remix his song. He said yes, although at the time, I didn’t know what I was going to do with the song. I just knew I wanted to do something.
After mulling it over, I realized that his song about love and my demo song about hope (Hope Remains) might provide an opportunity to entangle our sounds together, and so I worked to try to find elements his song and elements of my song. It didn’t work quite the way I wanted for a variety of reasons: he went into a real studio, so the sound of his song is bright and professional — I used my iPad as a demo recording, so the sound is narrow and confined, tight. The key signatures for each song are different, as is the pacing. But — and this is important — neither had drums, so meshing them together was a bit easier. When rhythm is in the mix, the remix is more difficult.
Even so, after my first attempt, upon listening, it was clear that the transitions between his song and mine didn’t work. The jolting differences between the two tracks were too much. It needed something in the transition moments. Later in the day, I had one of those “aha” moments: What if I brought in the voices of poetry and speech to fill in the gaps? What if the poems/speeches were on the same theme, but provided transition points between the music?
So that’s what I did, chopping and remixing audio poems and readings by Martin Luther King Jr., Maya Angelou themselves and a poem by Emily Dickinson (alas, not read by her but still …) and cast myself as a sort of knitter, pulling threads here and weaving threads there, all in an attempt to get at something larger than either of our songs.
This kind of Digital Writing — composing without the written text in front of you, using only the sounds of text as the means for making something new with echoes of the old — is always a challenge. But when done right, it brings to surface themes that might otherwise be out of focus. We listen as writers, using sound as words, and we hope the listeners “read” the remix. (Note: Michael wrote in appreciation for the remix after I sent the final to him. That made me happy, that I honored his songwriting with something new).
What will happen if this audio remix file is taken a step further, and brought into some other site, some other media? Maybe we’ll see … you are invited to play with the track, if you want. It is downloadable. (be sure to credit Michael Silverstone, though.)