I know people who write electronic music exclusively and, while it is a healthy part of my output, it is a rather recent development. My view of myself has been out of sync with other people's views so I've been ruminating upon why people see me differently than I do (that makes sense, right?).įor example, if I'm known at all it is most likely in the electroacoustic music world. I remember what I thought I would be doing and, as it turns out, I'm not doing those things. I've been asked to be a part of Richard Zarou's podcast No Extra Notes which has me thinking about how I ended up where I now am. If you get to be Holst, send me a postcard."
if it's your birthday or something." (high range of trumpet, I think) and I'm gonna build a house and assume you all have a vertical leap of 8 feet and not build stairs." (assuming that performers will play whatever you write) and THIS would be brownies." (overlapping vs. "The Nuclear Whales Sax Ensemble has a version of 'Fanfare for the Common Man' that will. "You wake up every morning and there's a new low note on the bass clarinet." "I don't think Stravinsky thought, 'Debussy? What crap!'" (part II of Rite) unless they are middle school percussionists." "If you want them to be really quiet, give them rests. "I don't generally find myself asking, 'What would Johann do?'" (as in Strauss) "The high range of this is on mushrooms." (not sure, maybe oboe?) "Write this for bassoons and it'll sound like burrito night." I don't quite remember WHY I said some of them, though. I recently got an email from a student who compiled a list of things that I said in last semester's Orchestration class.