Week 4 in Theory,
after standard 21st-Century Music work and the morning commute,
with dictation / keyboard-solfege on Thomas of Celano's Dies Irae, plus work on vertical intervals against a drone (including the Major and Perfect intervals of a Major Scale).
Home past
The
Suburbs,
Eden,
Chinese Wall, Dinosaur Ridge of 680 and beyond to 80's
Fairfield Pyramids, Poverty Hills, and
Lagoon Mountinas under dramatic skies, to produce the pdf of Merton Songs page 7 and compose the 8th measure for Psalm 86 and 17th sheet re The Decameron. Also manage to do a piano reduction and analysis of Perotin's Hec Dies, meaures 1-9, discovering that it operates in this short run as a three-chord piece in A: basically, i5, bVII5, bII5 -- remapping the chords in the second phrase such that it can be perceived in G: I5, bIII5, ii... with that last Am as a very early use of a triad.
Before long,
out again in the vibrant evening,
returning down the corridor past Cherry Valley,
the Sulfur
Springs,
Lynch
and
American
Canyons,
St. John Mine Mountain Ranch, and the
Vallejo Pass Cliffs
area (with views west to Mt. Tamalpais) --
heading to
San Francisco
Community Music
Center for a fevered Kurt Weill Threepenny Opera rehearsal, with
Harriet March Page, Michelle Jasso, Allison Lovejoy, John Bilotta,
Sibel Demirmen, and Zoltan DiBartolo -- in such selections and scenes as
Melodrama,
Barbara
Song,
"Mac, last night I had a dream",
The Ballad of
Sexual Dependency,
"You'll get 10 shillings, Jenny", and
Tango Ballad and a brisk
Finale.
