Today I took a chance and dived into a great project initiated by flute and saxophone duo, Duo Fujin – a challenge to write a new composition in 12 hours for flute/piccolo and alto/soprano saxophone based on a ‘secret ingredient’ which they would announce at 9am New York time (2pm here in London). It’s been a while since I’ve really stretched myself with a proper deadline so I tentatively signed up to give it a go.
I should say that I haven’t actually managed to produce a piece. What I have produced is an assortment of mangled bits of music that I’m ashamed to show in public (so you’re not going to see them) but the experience of working through my process intensively and quickly has actually been really interesting for me, in spite of my failure to produce anything worth listening to. No sitting back and pondering, it’s been a case of “Right. Now that’s enough of that. What’s the next step?”. And because it’s been interesting for me and because a number of people on Twitter seem to be curious about the work I’ve done towards my failed experiment, I figured it was blogging time.
I’ll run through the stages I went through, along with images of the pages I created as I was working through things. I’ve probably written things that sound stupid and used images that don’t seem to match up with anything but perhaps there’s something enlightening there. If you have questions or gentle observations, please put ’em in the comments!
So the secret ingredient was…
which immediately (as these things are intended to do) threw all my ideas out and set me off on a completely different tangent. I’m interested in popular culture but I’m the first to admit that I’m not hugely up to speed with it. We touched on remixing a bit in the audio production course I did as part of my Graduate Diploma in Design (yes, audio production in a design course, you did read that right) and it interested me but I never really got around to following it up much. So step one was to do some swift reading around the topic and work out what ‘remix’ could actually cover in a classical, notated-or-semi-notated musical context.
I remembered that I had a chunk of an old issue of Wired (July 2005, if you’re interested) lurking in the dark depths of my hard-copy read/review file and dug it out and read it – interesting articles on the virtual band Gorillaz (if you haven’t heard their stuff, get out there and listen now – their latest album, Plastic Beach, is fascinating) and a marvellous one by William Gibson on writing as collage.
(I was collating all this stuff on the iPad, so noting notable quotes involved snapping a photo of the text with the iPad’s camera, erasing extraneous bits and drawing over it with the highlighter ‘pen’ 🙂 No excess writing involved.)
That got some thoughts running and sent me hunting for DJ Danger Mouse’s infamous (and, I believe, banned in some places) The Grey Album, a mashup of The Beatles’ ‘white album’ and rapper Jay-Z’s The Black Album. We heard about this in my audio production course but it couldn’t be found for love nor money. Now? Google it. Download. Listen. Awesome.
I’m getting a little ahead of myself. The second step was to grab my collage box and just go for a wade and pull out anything that sparked an idea. These I again snapped with the iPad’s camera, pulled them into my notebook programme (Noteshelf, if you’re interested) and slammed them up against each other and made some notes. That was a bit of a curious collection:
- a black and white line-drawing texture from a brochure I picked up at (I think) the poster museum in Zurich about 5 years ago
- an ad featuring an excess of hundreds and thousands and a paddle pop
- an art flyer for an exhibition of the work of Norwegian artist Ørnulf Opdahl which I never stood a chance of getting to at the University Gallery at Northumbria University (I get these things in the post along with stuff that’s going on a King’s Place in London, which I CAN get to). His work is gorgeous. Go and check it out.
- a Tate promotional postcard for their Eadweard Muybridge exhibition that was on earlier this year (which I did get to)
- a ticket for Les Machines de l’Île in Nantes
- a postcard from the Banksy exhibition in Bristol a couple of years back of a zebra having his stripes laundered
- an ad for incredibly ornate Dior enamelled rings
- a marvellous drawing of aeroplanes in the sky by Alighiero e Boetti which (used to?) hang in the Tate Modern. I think it’s all done in biro, if I recall correctly. Amazing work.
[If any copyright holders have a problem with this, please let me know and I’ll remove the related section immediately. My work draws on a lot of visual art and it’s hard to explain the process without showing the pieces that went into it, but I don’t want to step on anyone’s toes here]
Next up: listening. I found The Grey Album very intriguing but I did begin to wish that I knew the Jay-Z album so I could really tell how it had been used. But even just hearing how the extremely familiar Beatles elements had been incorporated was fascinating. A number of tracks seemed to have random spaces in them which gave an interesting headspinny effect. Not sure if that was intentional or just my poor ailing laptop chucking a wobbly… but it sparked some new thoughts anyway. I’m looking forward to coming back to this one later and really listening quietly through to it a few times.
Finally, I pulled in the piano score of my set of 10-second pieces, Pieces of Eight, which I planned to hack up and glue back together in interesting permutations and hunted through looking for similarities and where I might find bits that could mush together effectively. I don’t think it was a bad concept. I suspect that a large part of the difficulty I had was because my musical language has changed a little bit and because of that I think I probably need to take a completely different approach with this early material. It might have worked better by creating a heavily manipulated tape part out of the mashup ideas, then creating shiny new instrumental lines over the top of it that gently referenced some of what was going on underneath. Might follow through on that idea one day.
So there you have it. I really liked pushing myself through the process at high speed and I might try that again someday with another piece – maybe make myself tear through the first stages to a point where I feel that I could do notes, then let it simmer overnight and see what happens. The speed and need to not linger over any one idea seemed to create more imaginative collisions when I found something new and there were a lot of ideas happening. Evidently not the right ideas for this project though!
Want to see the whole notebook? See it on Flickr.