Changes 98
Several years ago, a guy by the name of Larry Ross Norred served as a clinician in one of my high school bands, and during the clinic he promoted something I had never seen before or since. He had created a book with all of the possible scales, common chords, and chord substitutions he could find. It has been a tool in my compositional arsenal since I began composing. And the best part is he offers it free on his website at http://changes98.com.
Random Friday!
Music notation programs. Generally very helpful, but sometimes…they act up a little, as seen in today’s Random Friday gallery.
something for musicians and non-musicians alike…
I posted this on Facebook last week or so. I think it would definitely be helpful if I pasted that note from Facebook to a post on this blog!
Here it is:
This is something I’m writing for everyone, but especially concerns people who write or play music. It’s really important, because I think so many towns have their shells that keep some people from seeing the truth about life. And music seems to turn into politics everywhere, and I must say it really disgusts me, despite the truth that it is indeed a fact of life. (Please note, this note does not attack any specific institution, just attacks general issues people have everywhere)
I’ve come to reflect on some peoples’ words of wisdom, and I can’t help but reflect on them sometimes, and wonder if some people who seem like my friends on Facebook really think about what these people who really impacted my life have to say.
Perhaps it’d help if I’d go over them in a list:
1.) Enjoying life. In many people’s careers, they choose to work that job or something either because it’s the only one they can find, it’s what they’re best at, or it’s something they enjoy. Or sometimes it’s all three. But there are many people that just work in a career today because they’re just so good at it. Do they really enjoy it? Some of them hate their lifestyle! And I think this is especially something for musicians to think about because if you are playing your instrument or writing music or singing it mainly because you’re so talented at it, you’re probably not getting the most out of life, and might even seriously hurt yourself someday. I know some people that are already seriously mentally and/or physically injured because of this vice. Some of these people treat music more like politics this way, and that really annoys me now. True musicians will play music because they chose to do it and they’ve always loved doing it, not because they’re pressured by people to do it or they feel that music is the only thing that they’re good at contributing effort to. I’ve double checked myself… I’ve tried all kinds of activities besides those of the Fine Arts in my life now, and it makes me more sure that I’m a musician. But some people don’t explore other areas and maybe don’t know that they’ll really enjoy something else so much more. Broaden yourself! Don’t just stick to one thing, because when you center your life around one kind of career path from day one in your life when God has another plan for you, you’re due to be a really sad and sorry human being. Whatever you do, DO something because you enjoy it, not for ANY OTHER REASON.
2.) Comparisons. In our small towns and even big cities alike, we always look in awe at someone who’s so talented in a certain field. While that’s not really a bad thing, we then subtly create certain ranking systems inside ourselves and compare ourselves to them. This is not going to help anyone in the long run. It will confuse people, and make people feel that they’re not meant to do something that someone else seems better at in some way, when as a matter of fact they may be needed and may be meant to play their role in that field in a way no other individual could do it. All these stupid political ranks come from the wrong inner ambitions with a need to top everyone else in a certain field as well. DON’T COMPARE YOURSELF TO OTHER PEERS! This slowly eats away at the light that is put in each of us to accomplish what we were meant to accomplish. Just work to improve yourself. You might be surprised at a strength that you unleash that others don’t.
3.) Talent in general. I know most people will be impressed by one’s talent. But I know some people that look beyond that- and are no longer impressed by talent in anybody. When I ask one of those minds why that is, he replies, “Talent is everywhere you go.” And that, my friends, is very true. We have people that reach their chairs in All-State orchestras all over. Ever played a Ligeti dialogue? I haven’t, but I’ve seen someone do it, and it’s the most intense solo performance that I’ve seen yet (that kid was principal cellist twice in Oklahoma All-State, kiddies). Does that keep me from wanting to play cello? If I kept comparing myself to him, then yes, eventually I would quit because I’d feel that I can’t do something as great as he does. There were points in my life when I was ready to quit because I was so impressed by people’s talents. But talent is everywhere. Remember that, it’s really important. And just because someone beats you in a chair or something doesn’t necessarily mean that they’re better than you in every way, they just beat you in a audition. I do believe now in doing your best in whatever you want to do. But let’s just not think about how people are “better” than other people and have “impressive” talents, OK? That makes some people lead in roles sometimes that are actually meant for another individual at that moment in time.
4.) The best leaders are not always the most talented people. In fact, they’re often people that are down to earth, and just try to be inviting to everyone who follow them rather than intimidate them into following them. I know a conductor that’s always inviting, and I know a few who are more often intimidating. I liked the inviting conductor more than any others that I’ve worked under. And that conductor has a doctorate in more than one type of conducting, folks! And… he really hates publicity, which is why I’m not writing his name here. Neither will I write the names of other conductors I’ve met. But the best leaders are people who understand the people that they work with. They really try to get to know people that they lead instead of trying to forcefully bend them to their will.
5.) With all of this said above, music is an expression of a soul which is capable of expressing things that words might not sufficiently describe. Do you really like what you write or perform? Why? Does it reach to yourself and seem to communicate a message that perhaps really touches your soul? This is to me always the best kind of music, not just music that impresses people, but touches people. Music is NOT politics, which sometimes seems rather synonymous in the Fine Arts world when that’s really not the case. Music captures a certain mood or setting, but it was not created to enslave people in a system of how wrong or right you might be in your approaches to performing and writing it.
In other words, BE CAREFUL, AND ENJOY LIFE!
I hope musicians especially read this, because I think a few have missed the point of why we write and play music in the first place. It’s not a condemnation, just a friendly reminder. 
Picking a Graduate Program in Music: Part 2
I ended Part 1 of this article with narrowing down your prospective graduate school list to about ten schools, so I will start there.
At this point, you should have about ten schools, all thoroughly researched, to which you will apply. Deadlines vary by school, but most deadlines fall between December 1st and January 15th. For good measure, you should apply by mid-November. Assuming that you start thinking about the application process at the beginning of your senior year, you should have plenty of time.
The first thing you should do is to write out the admission procedures for every school at which you are looking. Applying to graduate school is generally a two step process. Step one is to apply to the graduate school or graduate college of the university, and step two is to apply to the actual school of music. Every school is different in exactly how they split up the application procedure, so do make sure that you pay close attention to how they want it done. Generally, you will apply to and send your transcript to the graduate school, which will then ask the school of music for their recommendation. The school of music will base their recommendation on various items, discussed later.
Some graduate schools will require scores from the GRE General test. Some won’t. Make sure you have in your notes whether or not each school requires this, and plan accordingly.
And then there are transcripts. Some schools require that transcripts be sent directly from the school, some are fine with you including them in your portfolio. The same goes for letters of reference. Actually, letters of reference are being done online more and more.
So applying to graduate school is pretty easy. Have your GRE scores sent to the school (if needed), send your transcripts, and fill out the application online. Applying to the school of music is more involved. For a composition program, schools generally want to see the following items:
1. An application to the school of music.
2. A portfolio of compositions (usually 3, sometimes as little as 1. The University of Denver requires one score be notated by hand.)
3. A CD of compositions
4. Letters of recommendation/reference (usually between 2 and 4, three is pretty common).
5. A resume/performances list
6. An application for graduate assistantships.
7. A letter of intent
8. (sometimes) Transcripts
And remember, this has to be done for each school. Some schools also require a sample of scholarly writing, some schools don’t require a letter of intent. The way I handled the paperwork was to print two copies of a checklist for what each school wanted. One copy went in the envelope I was preparing, the other copy stayed in a folder of graduate application paperwork. When something went in the envelope, it was checked off.
This packet of stuff is your first impression to the school of music so plan accordingly. Some schools ask for an interview, some schools will not, so this may be all they see of you until you are accepted. I used the same letterhead/font choice/logo for everything from the resume to the mailing label. I would look at getting scores bound at a local copy shop (I used Office Depot and was quite happy). Have someone look over an early copy of your resume and your letter of intent.
Reference letters can be interesting, as they are perhaps the only aspect of your application packet over which you have no control. I would advise you to ask early–and check often. In my case I knew most of the music faculty well, and had no problem asking any of them for a reference. I sent them a short email asking if they’d be willing to write a letter of recommendation for me, and they all responded positively (do this early, professors’ schedules are insane at the beginning of the semester, and then it gets worse!). Make their lives easier by putting together a list of schools, their requirements and addresses, and the general date when they are due.
Most schools will require a CD of performances of your works. In my case, I planned my senior recital in mid-fall so I would have recordings of everything to send to the various schools of music. CDs should be properly labeled (I used LightScribe discs to set myself apart).
Some schools, once you speak with them, will want you to meet them, or will require an interview (which we’ll get to). Travel to as many schools as you can. I visited about half of the ones to which I applied, and it didn’t seem to make that big of a difference. But visits and such, that’s getting into Part 3.
For the record, I submitted all of my applications on November 1st. Happy applying!
Featured Workspace – Kyle
One of the most exciting things for me when moving to a new apartment was getting to create my own home office/composition studio. After three weeks of living here, this is what I’ve put together.
Let’s start with the desk. I knew that I wanted something simple with plenty of workspace, and the local Office Depot happened to have this one at a really nice price, with a matching bookcase, which is completely devoid of books. However, it does hold two printers, two external drives, a dvd player, and a TV, thus ensuring I get absolutely nothing done while in the office.
Most of the technology is the same as from when I posted the temporary layout, but I’ll go ahead and spell it out here. My desktop computer is an HP Media Center m8400f with an AMD Phenom X4 and 8 gigs of ram running Windows 7 RC 64-bit. I use 4 hard drives, all Seagate (2 external, 2 internal). As far as peripherals go, I’m using the Microsoft Wireless Desktop 6000 for my keyboard and mouse, a set of M-Audio AV-30 desktop monitors, and a Westinghouse 21″ monitor. The keyboard/MIDI controller is an M-Audio Keystation Pro 88. You can’t really go wrong with a hammer-action bus-powered midi controller. Also, under the keyboard shelf is a Korg NanoKontrol, a tiny MIDI control surface.
Across from the monitor wall is my “idea wall” with a pair of whiteboards. I keep composition ideas on the right, other ideas on the left (as you can see, the { WMM! } schedule is on the left as well).
That’s pretty well it as far as my office goes. Do you have a layout you’d like to share? Let us know! tips@writemoremusic.com
Random Friday!
Well, it’s been a productive week! I discuss my travel setup, and we finally get to meet Dugan and Kieran. But now it’s Friday, and you know what that means…
Last week I posted the “Counterpoint Motivator” from the 18th Century Counterpoint class I took a few years back, and I figured I should post this piece of random from the same class:
A Fugue-Lib (aka a Mad-Lib on the art of Fugue):
Here’s what you’ll need:
NOUN
ADJECTIVE
NOUN
LOCATION
ADJECTIVE
VERB
NOUN
VERB
NOUN
VERB
NOUN
The NOUN starts in the ADJECTIVE key and is followed by the NOUN. We then modulate to LOCATION in the ADJECTIVE key. Then we VERB to the NOUN and VERB to the final NOUN, where we VERB and pray for NOUN.
Here was ours:
The PICKLE starts in the GREEN key and is followed by the SCALP. We then modulate to SASKATCHEWAN in the MIDGET key. Then we SPLASH to the SNORKEL and GRIND to the final TREE, where we BOUNCE and pray for CITRUS.
Do… Re…
Yeah, insert terrible music-related joke here.
The name’s Dugan. I’ve been a lover of music, and therefore a student of it, for as long as I can remember. I studied piano for 8 years, and eventually stopped taking lessons due to an overload of trombone-related activities in high school and in the years since. I’ve been attending Drury University for the past three years, bouncing around in a few different departments, namely Biology and Music. As with everyone else here, and hopefully you as well, I dabble in composition. I don’t pretend I know what I’m doing most of the time, but I have a lot of fun in the process. Currently I work as a groundskeeper at a cemetery, so I am able to think and harmonize with a lawnmower/weed-eater in solitude for most of the day. It lends itself to many new and interesting ‘drone’ ideas which I hope to explore in my works.
More will follow… I’ve just been quite quite lazy about getting started!
About myself…
Hi! I’m a student who is about to start my undergraduate music studies as a freshman this fall at Drury (as well computer science studies double major). I’m a geek who loves TV shows like Fringe and Doctor Who. I played in Springfield Youth Symphony for the past three years, and had the wonderful opportunity of playing in Carnegie Hall during my first year in the Youth Symphony. Since then, I’ve had many experiences during my times at the Rotary Youth Leadership Academy and Inspiration Point Fine Arts Colony. I’ve written several pieces already (a few for my independent study of IB Music last year) and have played the cello for over ten years now. I’m into almost any kind of music, and I’m a real experimenter at just about anything (if I have a soft drink at a restaurant I almost always fill it up with some kind of “suicide”).
I have many ideas as to what I want to do with my double major studies, including possibly writing a game in the future as well as compose the music for it. My primary goal, though, is to major in music if nothing else, and I am in the process of a writing a seven-movement symphony with classical and modern instruments.
I’ll post some of my inner thoughts here soon!
What's in the bag?
I try to post to { WMM! } every Monday and Thursday and leave a little something random on Fridays, but this week was a bit different. I spent this past weekend back home visiting family, and spent most of Monday making the 8-hour trek back to my apartment. And since I spent the past several days away from home, I decided that maybe I should write about what kind of things I take with me as part of my “mobile setup.” After all, you can’t take your entire office with you, can you?
So to start, here’s what I use to carry everything: A Body Glove Series One 25-key keyboard bag. I somehow found this on the shelf at Best Buy, and have had trouble locating much information about it (it seems that it’s a new line from Body Glove). If you’re carrying around a compact MIDI controller, this bag (or similar ones from Korg , M-Audio, or Novation will do the job.
In the front pocket, I keep various USB cables, product manuals, the M-Audio Micro , and a USB 10-key keypad (which comes in really handy with Sibelius).
In the main area I keep a compact MIDI controller (an M-Audio KeyStudio 25), several Mollard conducting batons, a Sony Playstation Portable, a spiral-bound book of manuscript paper, several of my preferred pencils, and an external hard drive (which I use to store backups of files from my desktop). Of course, most of the items in this section are self explanatory (manuscript paper, pencils, MIDI controller,) but the others seem out of place. For example, the external drive. Starting out as a young composer, I never know when I will have the opportunity to show someone my work, and the external drive works better than trying to keep track of paper files or hoping my desktop computer is awake at home. Conducting batons, I’d love to say I keep them in case I have a conducting emergency, but when was the last time there was really a conducting “emergency?” I keep them here because I have to keep them somewhere, at least here I know where they are.
And then finally the PSP. While I do use mine for gaming, I get much more use out of the internet and media functions. Like the external drive, I never know when I may need to show off examples of my work (this has actually happened, where I run into someone I know, and I end up pulling out my PSP and showing a video of some performance or another).
Of course, most of the things I carry around with me require a computer. In my case it’s an HP laptop, which I’ve not included because it normally lives in my school bag rather than my composing bag.
Random Friday!!!
Ok, so this is probably one of those things where you just had to be there, but during a class in 18th century counterpoint we students were amazed at something, and our professor simply said something along the lines of “It’s like magic….it’s called….COUNTERPOINT!” This required the obligatory motivator.
