Day 2: Listen

100 days as a challenge often feels like walking through a snowstorm. One foot in front of the other, no matter what.

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Like Jon Snow, I also know nothing, and frequently have this expression. Ah nuts, I also wear all black and call myself a crow.

Rehearsal first with Summerhill, then Ableton. Afterwards, fit in cleaning, stretches, and some sleep. If you’re curious to hear the programme but can’t make the show for whatever reason, I got you.

It’s really weird to think about as a concept – to be in a very dynamic, breathing entity, where you are a living cog and your actions impact a totally different group in very measurable real time. Like in life, but these cues are a lot easier to see.

It’s simultaneously trying to be a machine and the best expression of the emotions that make us human. It’s both restraint and release. To express emotion without strangling the music, and then to make another person feel, remember, know something that might take you years to explain and relate to their experience.

I will likely always be in an orchestra because it’s very clear what is correct at a base level. It’s written there in front of you.

Interpretation, however, is another story. If you want to see a really good short explanation of the difference between reading and interpretation, watch this:

It starts out being about listening, but that feeds into interpretation, too. You cannot interpret if you don’t know how to listen. Proper listening is a full body activity.

If you’ve never seen this artist before, she is one of my heroes – Evelyn Glennie, an amazing percussionist who happens to be profoundly deaf. She teaches people to truly listen. Watching this and her documentary Touch the Sound was eye-opening and made me want to write music where I could hear what I hear in the world.

I plan to write a longer post about listening and a few other things that are seemingly innate and taken for granted, that I have had to re-learn over the past few years.

Ableton was more fun yesterday because things were more easily set up, but I got frustrated early because I was just throwing down notes at random with the iRig keys. That’s something I usually do and then prune out bits until it works, but I think this time I’d like to experiment with working with an actual structure.

Summon worked for that because the whole idea was that everything was supposed to be happening at once. Because that’s how it feels when you’re trying to recover. It’s all too much, too fast, and not fast enough. It’s a swirling mass in your head.

That isn’t a permanent state, though, and most of life is structured. Even if the structure is often broken or inappropriate. Being able to choose your own structure is a luxury.

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