Friday, October 30, 2020

The Young Lions

It is a cityscape composed of brutalist polygons and spires, jungle vines, and oddly young asphalt.  Sweeping curves abound in the architecture and the streets; the few straight lines intersect bends at acute angles and tangents.  Fresh, neat sidewalks band city blocks in uniform gray.  Blank glass panes hold back blackness behind street level storefronts and upper storey windows.  White crosswalks and lane demarcations seem only months old, yet all feels empty and abandoned.  Draperies of unidentifiable foliage make bunting that everywhere celebrates Nature’s apparent reclaiming of this hypermodern space.  

This theme continues uninterrupted for blocks.  Here and there, down an avenue or between buildings, small parks are revealed, with grasses and brush overgrown and trees clothed in the same vines decorating the otherwise naked brute castings of the city.  Above, a bottomless blue-blue sky accented artfully with an occasional cumulus.  No breeze; comfortably warm.  An ideal day, but for the incongruity of the place.  

Time passes like the endless theme-and-variation facades of concrete and glass -- then, a sound of movement.  From around a far corner:  a young man, bedraggled as through some extended physical abuse, attached via a strange, stretchy, starry, translucent cord to a young male lion with an especially scruffy mane.  The man is obviously but futilely attempting to master the lordly cat, tugging agitatedly on its leash -- which appears to be of a piece with the lion’s collar and a loop firmly around the man’s wrist -- and variously castigating, cajoling, cursing, and crying at it.  For its part, the lion responds to the man with no more care than it would were a stone at the end of the tie, sniffing about, ambling a bit, looking inquisitively this way or that, only now and then casting the mildest of interests in the direction of the gesticulating primate.  Clearly, the young man believes the young lion owes him some due of respect; clearly the lion does not.  

If the lion moves in the direction the man wishes him to go, it is coincidental, but that does not stop the man from expressing exasperated relief and reiterating, verbally and gesturally, his intended direction and strutting off thence -- only to be yanked comically off of his feet by a combination of the elastic leash and the imperturbability of his three hundred pound companion.  If the man attempts to push or otherwise overpower the beast, he is mostly ignored.  However, given enough persistence and enthusiasm, the man’s efforts may be rewarded with a gentle mauling; hence, the man’s tattered mein.  Once his Panthera partner gives up this attention and moves on, the hominid has the option of either being dragged by the line at his wrist or pulling himself up and staggering alongside.  Typically, it is only a few moments before, bloodied but unbroken, this wisest of species of men renews his entreaties for dominance.  

This continues for quite some while.  

At a certain point, a distant snuffling, shuffling, and soft growling is detected by the pair.  Both stop their torturous tarantella and listen intently.  Determining that the noise is coming closer, the two head perpendicular to its anticipated direction and conceal themselves around a corner.  In a few moments, a pack of male lions comes into view, half a dozen or so individuals of mixed ages older than the one with the young man.  As if a single but chaotic unit, they walk along a sidewalk bordering a park, with a wilded hedge on their left, sauntering confidently and closely, rubbing shoulders and haunches, and shifting position within the group as if in a slow, informal, but highly competitive race.  They pass out of sight as they came.  

The pack gone, the young man and his pawed partner come out of hiding and resume their queer pas de deux.  As the day passes, this pattern repeats:  the man and the cat interact, always to the man’s detriment, yet always at his insistence, interrupted only by the intermittent passing of some tightly-traveling half-pride of maned veldtian expats.  Once, a younger member of a group is seen wearing the shredded remnant of a sparkling collar-and-leash identical to that binding the man-cat pair.  No other living things, that aren’t green anyway, ever appear.  

If the man’s and lion’s dynamic seems unsustainable, it is.  At a certain afternoon moment on a particular street corner, maximally piqued by the lion’s indifference, the man throws himself at his fellow captive in a last ditch effort to bring the animal into his control, an effort that is, in fact, his last.  The great cat concludes that this gnat must simply be swatted and, noting too that he feels a bit peckish, casually but messily at once rids himself of his annoyance and settles his stomach.  Thus endeth the youth.  

Having mostly decapitated the man as he crushed his windpipe (the simplest way to kill) and supped on his entrails (the easiest to access), the lion gets up to leave his meal and rapidly realizes that, of course, he is not yet quit of his burden and so spends a few crunchy moments gnawing the forearm off of the corpse.  Once through the bone and gristle, the lion sits up and looks around, a forlorn hand still dangling, but no longer a bother.  He sits facing away from the sun, gazing into the distance, sated, occasionally cleaning the blood from his paws and muzzle, Zen-like in his tranquility.  

Eventually, the lion stands, lazily, and turns around.  At this moment, he sees you.  You have not been aware of yourself prior to meeting his eyes; you have been a bodiless observer, floating, dronelike, drifting in this experience curious but detached.  At this moment, you have deep knowledge of your body, with arms and legs and a head, all made of meat.  Live meat.  Meat that you would very much like to keep alive.  And the young, shabby-maned lion, standing passively, sees you and your meat.  

He begins walking toward you.  It’s strange how you can sense the early evening air, the post-afternoon cool coming on, and how the shadows seem unexpectedly high up the city’s vine-draped facades, as this adolescent carnivore, whom you’ve just watched amiably devour one of your species, ambles in your direction, eyes locked to yours, a still-cooling hand at the end of its tether trailing blood on the blacktop as he goes.  

How do you react?  Do you run?  Do you think it through?  Like, “Okay, he’s just eaten his fill, it seems unlikely that he’s coming to eat me, but do I want to test that hypothesis just now?  Maybe I’m supposed to slip the leash onto my wrist and follow the lion, attempting to tame him until I annoy him enough to eat me?  What the hell?”  Prudently, you opt to bolt.  

The lion, in your wake, stops in surprise at your flight and watches your rapidly shrinking silhouette disappear into a distant doorway.  After several moments, hearing nothing, you peek timidly from around its edge and see the lion waiting, standing in the empty street, looking mildly bewildered.  After a few moments, you both hear the familiar snuffle-shuffle-rumble of a pack of adult lions coming down a street behind the recently fed-and-freed feline.  Suppressing your still-raging breath as best you can in order to avoid detection from the approaching pride, you cringe back into the doorway, but your new friend turns and looks in the group’s direction.  After a moment’s pause, he walks toward the sound; as the pack comes into view, they spy him and stop and wait for him, then greet him with licks and head-butts when he meets them.  One of the younger members picks up the still attached severed hand and, with a quick jerk, frees it from its band, sending the leash to jiggle briefly about like an epileptic tentacle, as he munches the body part snackily.  The group walks on with its new addition, leaving the street empty again and your heart yet unquieted, as you wait, blind in the doorway, for silence to return.  

However, it does not.  Before time enough for the pack’s soft sounds of danger to fade, you hear in another direction a chuffing and pumping and grinding, as of an immense engine powering a monstrous machine across asphalt.  You hide in your shallow city-cave as the mechanical mishmosh gets louder and closer, but your desire to see another human soon outmatches your fear of the departing lions and you poke an eye into view of the street:  no maneaters in sight.  Warily, you reveal more of yourself in order to see further, then step onto the sidewalk and begin watchfully walking in the direction of the sound.  

From behind a building a few blocks up on the left emerges a sphere several storeys tall.  Longitudinally striped in dirty red and white like some circus helium balloon, it gropingly jounces into view.  However, it is not floating:  it rides on a truck of heavy tires, partially obscured by its striped bloats.  Into the intersection, the vast, Gilliamesque machine rumbles to the right and heads down your way.  Startlingly, you abandon all heed and find yourself careening toward it, hollering for help and waving your arms in a frenzy.  The balloon treads on slowly toward you, as yet indicating no awareness of your presence.  

Racing up the street as if chased by lions, with the machine still unacknowledging of you or your need, you come to a stop several yards before it.  Awed by this colossal, gaudy, banded-bubble-on-wheels, you stand slackjawed as it juggers toward you, wondering if you are about to be crushed.  Then, abruptly, with a sharp venting of steam, it stops, the balloon wobbling ominously forward and back, and, with another steamy hiss, the balloon releases its gaseous contents and, supported by a towering circular-shower-curtain-like rack, parts to reveal a behemoth, red-painted, steampunk engine.  Cartoonish mechanical arms leap out from nowhere, one of which sweeps you up and stands you on a flat spot on the front of the vehicle, while others fly about with mysterious tasks.  A jointed spray-arm erupts from near the apex of the machine and deposits a foamy circumference on the pavement; somehow, you understand this to be lion repellent which, while effective, also dissipates quickly and benignly.  

Amidst this Seussian flurry of activity, you notice a figure ricocheting about the giant apparatus:  about five feet in height, shaped roughly like a squat tromba marina, with a pair of two-fingered tentacles for arms and a head like a Handycam, it is vaguely translucent and filled with star-like lights like the leash you saw between the young man and lion.  As it caroms around, you realize that this being, whoever it is, is the root and power behind all you have seen.  It acknowledges your presence only with a few passing glances, and makes no sound, but its movements are joyful, buoyant, efficient; you sense that you have become a part of some grand project.  In any case, you seem to be at the mercy of this evidently advanced being and to have little choice but to wait and see if you can understand what is going on.  

In a flash, you see an arm appear bearing a young male lion and another carrying a sparkly leash, while a third grabs you and places you back onto the street, along with the lion, just outside the fading foam ring, and the second slaps the leash onto both of you.  As quickly as they materialized, the arms disappear and the starry being bounces out of sight; the hulking red machine begins chugging again, pivoting, reversing direction, and sweeping the slowly reinflating balloon back around itself, leaving you and your lion looking confusedly at each other and at the new umbilical joining you, in the midst of the macadam and the surrounding grays and greens of the vine-festooned concrete canyon.  

As if placed in your mind as a parting missive, you -- and, presumably, the lion -- suddenly understand what is happening:  

You are part of a child’s impassioned experiment to help lions and humans “get along.”  There have been many iterations of this experiment before you.  It is the child’s sincerest wish that you and this lion should succeed where other pairs have not.  [You feel a deep, joy-filled, well-wish from the child-being you saw on the giant balloon machine.]  


Thursday, October 8, 2020

Prayer Walk

 The words "psalter," meaning a book of psalms, and "psaltery," which, in modern usage, is a kind of zither, both come from the same Greek root referring to a family of harp-like instruments.  It is easy to imagine (although I don't know that this happened) the one coming to be associated with the other through medieval prayer rituals.  Interestingly, the bowed psaltery, a 20th century invention, has a voice that harkens me to the sound of sacred psalms sung in ancient, reverberant church halls:  the instrument feels inherently meditative to me.  

After spending a fairly short time with it, I could clearly auralize the psaltery's strings in a choir together, surprisingly resonant and sustained, and, building on this inspiration, constructed a series of four-voice chords.  Each is repeated once via the delay (no feedback) and from one chord to the next only one note changes at a time, creating -- hopefully -- a kind of wandering but even musical kinhin.  Over this, I improvised an independent fifth voice, allowing my ear to move the bow where it wanted; I did some light editing of this melody, adding a few notes in spaces that seemed missing them, but I did my best to retain the sense of meditativeness.  

Like the work with the bowed clock chime, this piece is mostly a first experimentation with and demonstration of the instrument, exploring its timbres for future inclusion in other works not necessarily based or focused on it.  The more I play with it, the more I like its sound and am excited to continue on the path of discovery it blazes.  

Saturday, September 19, 2020

Number Three

I finished my third instrument (second kit) this past week:  a bowed psaltery


I first learned that bowed psalteries were a thing while perusing the kit maker's site looking for something else and was immediately excited by its sound and, frankly, just the idea of it.  It's completely different from any other bowed instrument I've played in several ways.  First, the bow is the only (standard) interface with the instrument; it's not designed to be plucked (although, there's nothing really preventing you from doing so and I'm considering ways of incorporating plucking into playing it).  As a type of psaltery, each pitch has its own string, so to play a tune, one bows different strings.  It's a chromatic instrument, with the notes laid out like a piano keyboard:  the strings corresponding to the white keys are on the right side and the blacks on the left.  That means that the bow jumps around to different strings constantly and, depending on the music, quickly.  Many folks play with two bows, enabling harmony, since the left hand has nothing to do otherwise (unless one is not using a stand and so must hold the instrument).  All Western standard pitches between C4 and G6 are represented, but the strings are all steel and unmarked and so all look the same.  The black dots on the right side just outside the pins notate C and F, but it is still confusing -- a little like playing piano with one finger and no knowledge of the keyboard.  I've been able to get some interesting sounds out of it and even picked out "Sheebeg and Sheemore" and "Over the Rainbow," but I'm a long way off from mastering it.  I'll continue to experiment with it and hope to be able to share some music made with it in the next few weeks.  

About the bow:  having spent my life handling viola (and violin and 'cello) bows, I was dubious about the design of this, expecting it to be a cheap, simple, and coarse version of the more elegant and, presumably, versatile and appropriate violin family bow.  I was completely wrong.  It is less sophisticated, but it turns out that it suits the bowed psaltery far better than a violin or viola bow could, for several reasons.  First, it uses a thin floss of horsehair, rather than a wide, flat band; this is important because the space between pins where the bow engages the strings is not only narrow but varies in width depending on how close to the bridge one is playing.  Second, the strings are very responsive, much more so than a violin or viola, and so require very little excitement.  Indeed, the instrument sounds best (to my ear) when the bow just brushes the string, which is the opposite of a violin family instrument; even with a light touch, using a violin bow on the psaltery easily chokes the sound, rather than enhancing it.  Third, a violin bow is comparatively long and heavy -- it's not made for movement along the strings -- so the psaltery bow's relatively smaller size and weight make it much easier to do the longitudinal leaping about the instrument required to play any kind of melody.  Contrary to my expectations, I've found that my experience as a violist has had, so far anyway, little to no utility for the bowed psaltery beyond general musical knowledge.  

A little about the kit and my experience building it:  I was initially very excited about this and the kalimba kit, which I bought from the same manufacturer, but found the quality control and some of the materials to be poorer than expected in each case.  The milling appeared to be done on good machines, but the fit and guide marks ranged from imperfect to sloppy.  Even the pins were inconsistent in quality -- you may note that there is an empty peg hole for the high G on the right; I'm waiting for a replacement for an incorrectly manufactured pin that came with the kit.  Overall, it had the feel of being based on a tried-and-true template, but hastily put together.  To add to the issues, the instructions were confusing:  they seemed to take a "keep it simple" approach oriented toward a beginner, which would have been fine if the milling had been more accurate, but, given that it wasn't, more details and even adding a few steps would have rendered the imperfect cuts unimportant and thus might help a kit builder end up with a better quality instrument with the materials as they are.  

When I was in my twenties, I spent about five years rebuilding old pianos and so have some experience in woodworking and finishing, as well as some understanding of zither-type instruments (of which the piano is one) but I'm aware that I'm no expert.  There's no question that some of the issues I encountered in building this kit could have been circumvented had I had a more seasoned eye; indeed, I already have ideas for how I would approach it if I could do it over again or if (when?) I decide to attempt making one from scratch.  Too, I bought the kit as a training opportunity and an experiment; by both of these standards, it was time well spent.  In the end, what really matters to me is how the thing sounds and, at least to my inexperienced ear, it sounds quite lovely.  Looking forward, I see myself spending far more time making music with it than grumbling about its flaws.  

Sunday, September 13, 2020

Days of the Virus: Six Months

Nothing is sacred
The ceremony sinks
Innocence is drowned
In anarchy
The best lack conviction
Given some time to think
And the worst are full of passion without mercy

-- Joni Mitchell, "Slouching Toward Bethlehem" from the album Night Ride Home and based on the poem "The Second Coming" by William Butler Yeats

On Saturday, March 14th, not quite a quarter of the way into this year, my wife, my mom, and I began quarantine from the COVID-19 pandemic and I wrote my first post about the experience.  Now, 184 days and nearly a million deaths later, almost three quarters of 2020 has passed through us and the only thing that feels notably different from six months ago is how accustomed we have become to the drumbeat of mortality and the chaos that, at least in the United States, has grown out of the combined willful ignorance and entitlement that seems to be the foundation of our contemporary culture.  Indeed, as we slouch toward Election Day, it seems very likely that the thickest part of the spear impaling us is still to arrive.  

To my family and to my few dozen patients, I peddle optimism.  I am not a purveyor of falsehoods:  I do believe that that essential thing that makes us human -- our mutual interdependence and the compassion that arises from it -- will carry the day in the long run.  A vaccine will be developed and disseminated and communities will reconvene, dazed and bedraggled but ready to be whole again, as after a great storm.  However, just how long that "long run" will be I cannot reliably guess.  From the perspective of a private practitioner, I cautiously anticipate that on or about the anniversary of our quarantine we will be able to break it and I can return to my regular work.  As a father, husband, and son, as a friend, as a citizen, these days any trek off of my property -- "the compound," as a rural friend calls my suburban home -- is accompanied by such anxiety that it's sometimes difficult for me to imagine ever re-entering the world again.  

Like many, I've found "COVID projects" to keep myself occupied and for self-care; some are very satisfying and rewarding and I plan to continue them long after the pandemic is an awful memory.  I attend to my relationships and do my best to care for those around me.  Although not abstinent, I do minimize my news intake -- which is, as BrenĂ© Brown points out, "the definition of privilege" -- but I cannot lament what I am exposed to:  I believe it is my responsibility to know and care about the lives and suffering of others, even as I must curate my resources for responding.  Indeed, that is the name of the game for all of us these days:  to feed and protect ourselves enough that we survive and can remain of service.  

If my imperfectly informed guess is right, we're at about the halfway mark of our quarantine.  If my equally imperfect other guesses are even in the ballpark, the second half of our quarantine will be the more challenging.  May we all have what we need to make it through.  

Thursday, September 10, 2020

The Long and Long of It

When I first learned of ambient music -- some 35 years after Brian Eno's Music for Airports -- one aspect that fascinated me was how composers could simultaneously create a sense of dynamic changelessness that evolves over time.  Of course, not all ambient music does evolves that way; some of Eno's earliest experiments were musically static, built with asymmetric loops that created a texture that never repeated, but any one section more than a few moments long nonetheless contained the same elements as any other.  The works that I have been most drawn to are those in which one can "drop the needle" and no section sounds the same as any other, yet the changes are hard to identify as one listens to the piece across its length.  Of course, one might argue that ambient music isn't meant to be that way -- it's purpose-built background sound, creating a space, an ambience -- but I find the boundary between the indirect and passive, on the on hand, and the purposeful and directed, on the other, to be rich and enticing.  

So, my forays into ambient music have all been aimed at straddling this line, creating something into and out of which the attention can wander, but that nonetheless remains interesting enough to hold a sufficiently curious attention.  Sustaining that over time into longer forms has proven to be a significant challenge, and one that I am only beginning to feel that I'm having any success with.  It is from those efforts that this, my first album of music, has come.   




I've included brief descriptions/explanations on the pages for individual tracks.  The second and third tracks were created over the last two months, while the first is a re-release from a collection I participated in back in January of 2019.  If anyone has any questions about any of them, please feel free to ask in the comments and I'll do my best to respond in a timely way.  Meanwhile, I have ideas for several new instruments that will likely be well-suited to ambient music and I hope to produce more in the coming months.  


Sunday, August 9, 2020

A New Level of Satisfaction

So, after all this talk about building instruments, how do they sound?  The bowed clock chime and the kalimba, at least, sound like this: 

As I mentioned in my previous post about the bowed clock chime, I had made some recordings with the instrument back in November, but I didn't do anything more with them.  Last month, I was going through some of my old "song stems" and was reminded of what I had done with the bowed chime; listening to it again, I heard the tinkle of a kalimba in my head and knew what to do.  Today, when I finished tuning the kalimba, I immediately pulled up the bowed chime tracks and began to mess about with the instruments together.  

I really love how the piece came out.  The sound of the bowed clock chime is very satisfying, so full of harmonics and breathy timbres.  The kalimba's plink provides a perfect counter to the chime's soft, slow, bowed attacks and yet both instruments' textures overlap, as they would since they are both metal lamellaphones.  The nature of the bowed chime pulls for a meditative ground, while the kalimba's ability to fill in some of the notes that are missing in the chime make the latter's drone more musical.  

More than that, it's immensely satisfying to create a sound from scratch and make music with it.  Nine years ago when I reconnected with music and started composing, I was especially interested in timbre, texture, and sound design.  Computer music made that really accessible, but over time I've been increasingly dissatisfied with most electronic voices and drawn toward those that at least begin with acoustic, "real-world" sounds.  Today, I can imagine a sound-making machine and what kind of sound it might make, then build it and make music with those sounds.  This feels like something I was meant to do.  

You Say, "Mbira," I Say, "Kalimba..."

I've loved the sound of mbiras since I first heard them.  I mentioned this fact once to a friend who had a small one in his office and he later surprised me with one as a gift; I keep it on my table of favorite instruments in my studio.  Building one from a kit seemed like an obvious choice for getting my feet wet in instrument making, so when one came on sale last month, I didn't blink.  Here's the finished piece:

Front/top.


Back.


Right side.

I learned in researching for this post that "mbira" is a broader class of instruments of which "kalimba" is a particular type; this kit is, as far as I can tell, properly a kalimba.  I'm happy with the way it turned out.  Most important, of course, is the sound, which is lovely; the folks who designed it seem to know what they're doing.  The shellac finish came out well enough.  It's not terribly robust, which I knew, but I like what it did to the wood (hard to see in detail in these pix) and I'm looking forward to seeing how it ages; critically, it seems not to interfere with the sound, which was my primary criterion.  

(A brief search online reveals a wide and enthusiastic debate about what finishes are best for musical instruments with wooden resonators.  Polymerized varnishes like one finds on tables or basketball court floors are tough as nails but that property actually mutes vibrations.  Lacquer is common on pianos and electric guitars for its relative strength and ease of application with the right equipment, but that equipment is expensive and lacquer itself is nasty toxic.  Oils like tung or linseed are lovely but terribly slow to cure and I'm unsure of their acoustic effects -- and no one seems to use them on musical instruments.  The varnish used on violins is based on tree sap and has ingredients that can cost hundreds of dollars an ounce, and I'm no Antontio Stradivari anyway.  On the other hand, shellac is made of inexpensive, natural, non-toxic ingredients, can be layered to a lovely finish and dries rapidly; it is used by many luthiers for classical guitars, so it has demonstrated acceptable acoustic properties.  As I said, it's not terribly strong, but these are musical instruments, not pub bars or gym floors, so I think that's an acceptable downside.  And that's why I settled on shellac.)

There were, as is always the case with new projects, a few things that didn't go as I had hoped, the most noteworthy of these is the mark:  I had planned -- and, indeed, attempted -- to affix a paper label with my logo, the date, and instrument number (this is #2 after the bowed clock chime) inside the soundbox, viewable through the soundhole.  Unfortunately, my method for securing it failed and the label came off after the instrument was nearly complete.  Further experiments will be made.  

I learned quite a bit on this kit, identifying whole categories of things I didn't know that I didn't know.  On the whole, though, it was a very validating experience:  there was no question in my mind that I was (and remain) very ignorant on the subject of musical instrument design and building, but it turned out I knew more than I thought and was able to apply much of it to the discoveries of what I didn't know.  I'm very excited about this work and am looking forward to new, future experiments.  (A bowed psaltery is next in line!)