President Harrison, (Harrison was in fact a scion of the Virginia planter aristocracy)
and the Ford company,
to represent the true 21st century american.
For TUBAJAM, MIDIHORN, and POLISH BLUES YOUTUBE CLIP:
(note it also contains an Ancient Greek narrator in the second half)
Another Note: Found an “alien spaceship” at the lake, through this process: wandering on the shoreline, hearing “TIMARIANS APPROACH” playing in my head, and seeing what made sense. Will LEDs soon. Alien Spaceship on carpet:
One more note about the upcoming dystopian opera, TIMARO: on my morning walk to the studios, I came across wonderful theatrical trash, an imitation of arching steel girders. Thinking of picking up these pieces so we can make a JANKY light-piece out of it:
Tourbillons comes from Ancient Rome. Cezanne used it to mean “chaos”, the fuzz that fills the forms of our mind’s eye. Lucretius, the ancient roman, saw little whirling things within the fabric of matter. Through the writer Emil Zola, Cezanne learned of Lucretius’ ancient poetry.
What is this musically? Perhaps noise. Perhaps something considered paradoxical or taboo. Such as the devil’s tone, the square root of two. Avoided at all costs but very fetishized in baroque music. Carried on as a neo-baroque spice in Romantic music, as in the French Whole Tone Scale.
This piece “tourbillons” is about linking Cezanno’s turbulence, through the devil’s tone, to the French Whole Tone Scale, and finally to French Horn Harmonic Technique.
A theme of misinterpretation pervaded the opera. Incidentally the French Whole Tone Scale lines up with the 4-note (C D E F#) theme of Baltimore’s “The Mark Steiner Show”*. There, it is used to suggest progress, a democratic society, a herald. Confer with “An Open Letter to Mark Steiner”, and the two radio spots we did for the opera, 1 and 2, in which you can hear the theme played by solo tuba.
Taking the Mark Steiner theme as our basis, here is how French Horn Harmonic Technique relates. Take a “D” tube and blow the 5th, 7th, 8th and 9th harmonics, [F# C D E], which is our primitive whole tone tetrachord, rotated once to the right. That is the basis of this piece, and that is why, to properly play it on the horn, you would utilize the seventh harmonic, to play a harmonic, not tempered, seventh.
Now we can discuss temperament. When mastering the Tuba and French Horn recordings (really, structured improvisations) @ Studio 1510, Oakland California, I had access to the Antares Pitch-Correction Plugin, which I liberally applied over the tuba and French Horn tracks, to explore how it automatically tempered the harmonic sevenths.
It did, which was boring, but a happier side effect had to do with the meta-tracking of the Antares. You see, it first must go on a “transcription run” and buffer the notes that are already there into its internal tracker. Thus, I found that mistakenly shifting clips in the ProTools edit window caused them to come out of sync with the “perceived notes” of the tracker; this caused spontaneous octave jumps and other articulated transpositions, that further enriched the French Horn line.
Thus the question came, should I transcribe this to music paper, and what would it look like? To do it, I procured a month-free-use copy of “Finale NotePad”. Transcribing, all the notes are hocketed from the rhythm, in sensibilities that only computer music could achieve, thus it was a challenge to bring it back to 1889 staff paper. (re)playing this music on brass would be bringing “new” music to the band.
Now, why write in “different times”? Charles Ives new the importance of people’s histories overlapping like generations of diverse clips in ProTools.
When using “Finale NotePad”, a horrible program, do you know that while I was using the “Expression Tool,” the code for it broke and it became the “Expression ToolP” and the program crashed whenever I tried to use it?!> That is why there are no expressions notated. But good slurs.
That the theme is played in both “D” and a third down in “B” is due on the mechanical level to exercise the third valve of the brass instrument. On an astral level, however, as a nod to Rudolph Steiner, a contemporary of Cezanne, to whom we shift to from Mark Steiner, in a complicated “misinterpretation web” as Rudolph Cezanno
*since then, Mark has changed his theme to something more serious sounding, in a minor harmony.
good hand acting
symbolist prose that the powdered man (data) cannot understand
werther’s original face
picard creates a mythology on this planet, El-Adrel.
Captain Dathon succumbs to the beast, at campfire, he is a very sad potatoe indeed!
The Tamarians look for reconciliation- “Darmok and Jalad on the ocean”. You see, on the planet, Picard’s embedded universal translator was creating a sound-field of English around him, so the grammar and the syntax was translated, but he did not understand the Tamarian communication, which is based on mythological archetypes. This is the leap of learning he made, there on the surface of El-Adrel. The Tamarian ship yields its massive power to their new friends, The Federation.
We played around with the idea of projecting the huge, Microsoft multimedia, speaker cone on the depth curtain, to project the idea of “being in the studio with the composer”. We ended up not doing it, i think because it was too radical. I still think we shoulda done it, that’s why i’m posting these pix.
also projected- a whirling turbulence of organic globs to introduce “Tourbillons”, and green eels/tubae for our immanence song, “green’.
Military pianist service