Orchestral Study #11 (a crowd, disassembled)

  1. Orchestral Study #1 (flowing and hymn-like)
  2. Orchestral Study #2 (driving and chaotic)
  3. Orchestral Study #3 (adagio with melisma)
  4. Orchestral Study #4 (allegro)
  5. Orchestral Study #5 (variations)
  6. Orchestral Study #6 (space)
  7. Orchestral Study #7 (dialogue)
  8. Orchestral Study #8 (toccata)
  9. Orchestral Study #9 (seven interludes)
  10. Orchestral Study #10 (rupture, slowed down and from different angles)
  11. Orchestral Study #11 (a crowd, disassembled)
  12. Orchestral Study #12 (thesis)

My original intent (which, if all previous intentions are any model, was destined to be diverted) was to open with quiet statements, work to a “tapestry of sound,” then return to a variation on the initial statements. I saw a horizontal shape, expanding and then returning.

I watched Berg’s Wozzek when I was in the middle of the piece (needing the insight but contradictorally worried that it would dilute any originality), and was reminded of its brilliance. I know many of the melodies from college but it’s also notable theatrically. It did end up giving me some ideas to break out from repeated-eighth-note lines and try to be more rhythmically varied.

  1. Theme A in eighth notes, varying between 2/8, 3/8, and 4/8, with the melody in flutes, oboes, and violins.
  2. Theme B as a chord progression, transitions blurred with exaggerated anticipations and suspensions and non-harmonic tones (of a sort, without a reference key). Melodic decorations in the winds as call and response or a shared melody, ending with repeated note decorations.
  3. Theme C as melodic chattering, call/response/shared melody between winds and strings.
  4. Theme A repeated, modified with extended phrases injected.
  5. Theme B repeated, modified with extended chords at the end. Repeated note melodic decorations.
  6. A short canon.
  7. Theme C repeated in style, but with a single voice, spaces left for the absence participants.


I am starting to be more conscious of when I need to let silences and scarcity fill a statement. It takes close listening to know when and where those silences need placed. I’m better at not letting percussion take over a section. Less/more and all that.

Next up: The last one. I honestly have no idea what direction I’ll go. Although it sounds silly, a new piece every month has been somewhat exhausting. I think about Wozzek (and am now re-watching Berg’s Lulu, produced by William Kentridge, amazing for different reasons) but also feel like I need to go back to tonality. The first days of the month are always a pause to clear the head.


Delinquent Girl Boss: Blossoming Night Dreams

I started watching pinky violence films of the 60s/70s a few years back and over time built a large collection of DVDs of probably the most popular, and most accessible. The genre is listed as sexploitation, but they’re really just female gang oriented with little content that’s erotic or even erotic-adjacent. Many films in the genre are part of different series, each showcasing the same lead character across films. The DVDs I have include some complete series, but certain entries have been impossible to find. The two I just obtained were this one, the first of four Delinquent Girl Boss (Zubekô banchô) movies, and Girl Boss: Revenge [ 1973 | Wikipedia | IMDB ], the fourth of seven Girl Boss (Sukeban) movies. Somewhat confusing, I know.

Continue reading Delinquent Girl Boss: Blossoming Night Dreams