![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
You know who just made a presentation? TOBY TWINING.
Yes.
He asked us all our names and backgrounds, since he's never had as informed an audience for a workshop/presentation. I'd introduced myself a bit earlier, saying I'd heard a lot about him from Mark and Eric. Which I had. I tried not to be too incoherent, so I shut down a little bit. He started doing his talk once we were all there and he had some idea what we knew, and I was informed enough to ask a couple questions. Though I didn't have that many; what he writes is what I'd desperately love to do.
He showed us two pieces, both with scores on the projector on a sheet on a wall of the art center. String Room, from Eurydice, was the first one. Despite the slight guilt (Eric invited me to the cd release party and I almost went but then there was a surprise dress rehearsal and I couldn't make it to New York), I am glad that I heard it for the first time there. With the score. I watched it go by and cried like a faucet. Because it is so beautiful. And I am not that good yet. Though I felt a little better when I asked him if they had midi in headphones for reference and he said no, Mark pitch-corrected it because they couldn't pay for too much studio time. So it wasn't as spectacularly far above my ability level as I originally imagined. But it was nonetheless mind-breaking. I am getting Eurydice as soon as possible (apologies, Eric, Mark, I don't know why I don't have it yet).
The other piece he played was Schoenberg Dreaming, a pitch-drifting cello piece premiered (and continually refined) by Malina. Also mind-blowing. The difference between the Ben Johnston-style L's and 7's style notation and the equal-temperament approximation with cent value difference annotations is staggering. Some of the accidentals make the sounding pitches more than an octave different from what's written.
He had fifteen minutes left before the schedule said we should start rehearsal (10pm), so he went over the basics of Western style overtone singing. Highly satisfying, with a bunch of people who have been singing JI for a week and a half and are therefore better than average at tuning. >D
Mike's piece, which we rehearsed at 10, is for the traditional string band festival we're goig to see and perhaps participate in on Friday. It's a quartertonal country song. It's got immense potential, though it took us forever to get it together because it was late. The same goes for Jacob's JI common-tone modulation neotrad string band song. It's awesome. I can't wait till we're not all tireder than the dogs and can play well again.
Yes.
He asked us all our names and backgrounds, since he's never had as informed an audience for a workshop/presentation. I'd introduced myself a bit earlier, saying I'd heard a lot about him from Mark and Eric. Which I had. I tried not to be too incoherent, so I shut down a little bit. He started doing his talk once we were all there and he had some idea what we knew, and I was informed enough to ask a couple questions. Though I didn't have that many; what he writes is what I'd desperately love to do.
He showed us two pieces, both with scores on the projector on a sheet on a wall of the art center. String Room, from Eurydice, was the first one. Despite the slight guilt (Eric invited me to the cd release party and I almost went but then there was a surprise dress rehearsal and I couldn't make it to New York), I am glad that I heard it for the first time there. With the score. I watched it go by and cried like a faucet. Because it is so beautiful. And I am not that good yet. Though I felt a little better when I asked him if they had midi in headphones for reference and he said no, Mark pitch-corrected it because they couldn't pay for too much studio time. So it wasn't as spectacularly far above my ability level as I originally imagined. But it was nonetheless mind-breaking. I am getting Eurydice as soon as possible (apologies, Eric, Mark, I don't know why I don't have it yet).
The other piece he played was Schoenberg Dreaming, a pitch-drifting cello piece premiered (and continually refined) by Malina. Also mind-blowing. The difference between the Ben Johnston-style L's and 7's style notation and the equal-temperament approximation with cent value difference annotations is staggering. Some of the accidentals make the sounding pitches more than an octave different from what's written.
He had fifteen minutes left before the schedule said we should start rehearsal (10pm), so he went over the basics of Western style overtone singing. Highly satisfying, with a bunch of people who have been singing JI for a week and a half and are therefore better than average at tuning. >D
Mike's piece, which we rehearsed at 10, is for the traditional string band festival we're goig to see and perhaps participate in on Friday. It's a quartertonal country song. It's got immense potential, though it took us forever to get it together because it was late. The same goes for Jacob's JI common-tone modulation neotrad string band song. It's awesome. I can't wait till we're not all tireder than the dogs and can play well again.
Tags: