Yesterday was quite a thing; it was a recording session for the choir. A six hour one! I was so exhausted buy hour 5 I didn’t know if I was going to make it, but I did. And my body is moving much better than it used to. My new feature – if nothing is moving in the music – just hold still for a second. That sounds obvious, and it is, but for some reason it took me until a year or two ago to realize this. Note: if you have an orchestra where people only have their own part and have to count something like 24.5 measures of rest then you have to keep your pattern going and show the beat. But for choirs who have all the parts, no problem holding still or near still.
I’m noticing today that for me, musical exhaustion is gone overnight. My appetite is back already! I’m emotionally and energetically ready for the next recording, but I’ll have to wait about a month. In the meantime I’ll be post producing the recordings – splicing all the clips together, balancing the mikes, EQ, reverb, and other little things.
And I do have two projects coming up – one is October 14th, an art song recording, and the other is October 20th, a demo recording of selections from a new musical. So I have things to hold on to.
Mornings – here’s the issue. Often I want to get to the piano first thing in the AM but I’m the first one up so even now at 8:50 I can’t play! Frustrating! But I am glad to see that after yesterday, which really pushed me to my limit, I am ready to go already. That means to me that I’m in the right line of work.
But I have ideas. When I last did my 30 minutes I was kind of circling around making decisions but not committing to anything in particular. I am close to having the ending – I already know it is going to be the word “fire” repeating a few times with some word painting. The trick here is that the piece tends to pedal point (that means the bass (in this care) stays on the same note while other things move around – like stepping on an organ peddle and leaving your foot there while your hands keep moving through chords or keys) and I can’t just end with a big long low C pedal point. Not acceptable! That would be so anticlimactic people would boo. So in the end I have to go through some sort of progression that sounds true to the rest of the piece and ends on that low C – the dominant feature of the piece. I’m closing in. But I don’t want to get too fixated on it because until I have everything else in place I shouldn’t commit to it – it has to feel organically inspired.
Maybe I should stick a dog on my housemate that isn’t awake yet. Then I could get to the piano.