Write up both the Tom Nunn and Erling Wold shows as a joint review for Commuter Times, to also run in 21st-Century Music, then blast to Diablo
for
the
beginning of
Week 10 with the Theoreticians -- the dictation, keyboard-solfege, and board harmony being Sergei Prokofiev's Peter and the Wolf opening. Also show videos of King Oliver's Dippermouth Blues and Act I, Scene 2 transition and Scene 3 Lullaby and March of Alban Berg's Wozzeck; wrapping up the last major and minor scales with C#, G#, and D# Minor, and B Major; moving forward with I-IV-V progressions in C and Eb (the latter referencing Louis Armstrong's West End Blues, also played) -- followed by an extensive session in the lab and coffee briefly with Doug. Record Tritone Orchestra versions of
Symphony No. 3: I, IIa, and IV (Op. 75)
Psalm 73 "Truly God Is Good To Israel"
(Op. 197, No. 1, troped on F.J. Haydn's "Emperor" String Quartet: II)
The Decameron: First Day, Novel I (Op. 200)
Triple Concerto for Bassoon, Contrabassoon, and Harp: I (Op. 201)
Working on the last two, learn how to bring in Garritan instruments into Cubase -- perhaps a major breakthrough, with the sonic qualities of the former allied to the flexibility and control of the latter. Nevertheless, the Triton sounds still have a presence and punch, with more range and variety, and sometimes just plain old actually sounding better, so more investigations are pending.
Return homeward to Harriet under darkening skies, with evening endeavors including pdf of Merton Songs (page 48), composition for The Decameron (57) and Psalm 90 (16), and acquiring the motion-capture film of
Herge's Tintin (1929 / 2011).
