On Tuesday, Phase III performed Lift Every Voice and Sing on the floor of the State House during Arts Advocacy Day. There was good news, as the Governor announced that he had restored the budget for the state's public art program. There's more to be done…

More photos by Jori in CMW's Flickr account.

More photos by Jori in CMW's Flickr account.

A “dashboard” is an opportunity for a staff member to provide an update to the rest of us at the weekly staff meeting about a specific area of CMW that they are responsible for. Naturally, some people take this exercise further than others…

See Jesse’s Instrument dashboard from last year here.

Dear CMW friends and family,

I am VERY excited to come back home in a couple weeks and check in with all of your smiling faces!! I have been living vicariously through the CMW blog and regular updates from Sara and Kirby, which will have to do for now, I suppose.

Life here in NY has been everything one would expect: a lot of personal creative work, loud, annoying neighbors (I am referring to the people who have moved in within the past five years), and a bohemian-ish lifestyle (read that however you want). I’m busy with my studies in writing for movies and learning about jazz vocabulary and arranging. I have also started work with a string quartet comprised of other colleagues I know from college who are beginning their musical careers here in the City. Our group will be dedicated to performing new works by living New York composers and perform at bars and galleries in town.

So, about our Workshop! When I arrive on March 26th, we’ll be focusing on putting together my arrangement of the CMW Round, with original lyrics by the astoundingly clever Chloe Kline. The piece is a Theme and Variations of sorts, which allows each of the programs within CMW–Phase I, II and III, and Fiddle Lab–to shine with their very own, custom-made variation. This piece was a real joy for me to work on because it allowed me to reflect on the work we had done together and, in a way, to compile my findings in one complete musical work.

I am hoping this will be a fun way for us all to reconnect and make some music that’s fun and filled with the CMW spirit—complete with a traditional CMW “free jam” at the end for everyone, including friends and parents to let their voices be heard! Be sure to keep looking over your parts if you need to. We will only have two rehearsals to put it together, so the more prepared we are, the better! I’m so excited to see you all again!

Tons of respect and appreciation,

Jessie

More photos by Jori in CMW's Flickr account.

“Just get into the practice hut, close the door and start, and time will slow down,” Barry Shiffman, the director of the residency program said to me on the second day of my two-week residency at the Banff Centre.

Although I had arrived in Banff–which may be one of the most beautiful places in the world–in Alberta, Canada, I had up to that point felt stressed that the time was short and I had so much that I wanted to do while I was there. Barry’s words indeed became true once I was able to settle in and change gears from my normal high-paced rhythm. (Imagine a skittering insect, trying to slow down.)

The days were very full and yet so simple: wake-up, eat, go to my hut and practice for a couple of hours, or on some days go to a lesson or a rehearsal, lunch, more practice, late afternoon swim, walk, or nap, dinner and in the evenings, hear a concert by one of the other residents, and then hang with all the great people there or more practice.

The Banff Centre’s motto is “Inspiring Creativity.” Although my initial expectation had been that creativity would be inspired by having twelve wide open days to do nothing but practice, I quickly discovered that Barry and company had other plans for me. There were lessons scheduled with visiting guest artists, opportunities to participate in collaborative projects with other residents, and rehearsals in addition to the set concerts. The other residents ranged from classical pianists, string and wind players to composers, early music people, some earnest string quartets intent on getting their tape recorded to submit to the Banff String Quartet Competition, and a few singer/songwriters.

One of my favorite collaborative projects was a curated piece with a visiting composer, Giorgio Magnanensi, which combined acoustic instruments with live electronics. The performance relied on the performers to carry out both written music and structured improvisation. A motley crew of sixteen musicians, whose breadth was typical of Banff’s ethic of creative combinations, included a pianist, a player of a handmade Kora (African harp/lute), a blues guitarist, recorder player, harpsichordist, vocalists, strings and more. The piece lasted about fifty minutes and the combined sounds of all the musicians and Giorgio’s score was manipulated electronically and presented to the audience with 5.1 surround sound technology.

The two weeks culminated with a performance of the Martinu Madrigals with Sebastian, on the Friday night “Concert Night Out” Series.

My practice retreat was both about soaking in the creative vibe at Banff and getting some concentrated work done in my hut. It was true that in the practice room, once I shut the door and picked up my fiddle, time slowed down. It felt luxurious to practice as if I had all the time in the world; to spend time on open strings, relaxation and my breath while playing, as well as sorting out technical things in some of the pieces I was working on. Instead of hurrying to learn repertoire as quickly as I could for a concert, here I could take the time to spend half an hour on thirds and an hour on a scale, because that was the first of many hours I had each day.

And of course, who could ask for a more beautiful place to be? Surrounded by mountains, it’s impossible to not feel calmer, more focused and more open. I could easily have spent another two weeks there, but hopefully I can carry some of this renewed focus and energy to my life back at CMW. Thank you to Barry and the Banff Centre for this wonderful retreat, to Linda and Owen De Bathe for creating the scholarship at Banff that funded my tuition, and to CMW for letting me take the time away. Hurrah for practice retreats!

-Minna Choi, CMW staff

I'm looking forward to returning to Providence in April. Since the last Quartet Project workshop at CMW in the fall of 2008, I've continued to make steady process towards the goal: creating a collection of new music that will make it easier and more inviting for kids (and beginning string players of all ages) to play chamber music. I've written over a hundred small pieces for string quartet; they begin at an elementary level and become gradually more challenging.

Playing chamber music–and string quartets in particular–with my friends is the reason I'm a musician today. Playing music by yourself is nice; it’s challenging; it’s absorbing; it can be fun. But playing music with others is something else entirely–like moving from flat paper into three dimensions, as if a silent, black-and-white movie suddenly burst into sound and full color! My aim with the Quartet Project is to open new doors into that world of playing together.

In the last 18 months, more than 40 quartets around the world have played pieces from the Quartet Project. Kids from Providence, to New York, to Grand Forks (North Dakota), to Vienna, to New Zealand have premiered pieces. And I've had the good fortune to get to work personally with most of those groups.

It's exciting to hear quartets play music that I wrote weeks or months before. I see the groups working to make sense of a piece they've never heard before. It's satisfying to be able to tell them, "Try it this way," or "Dig into the string there; don't be afraid to make an ugly sound," or just to explain what the idea behind a piece was. It's thrilling to hear the results; the music comes to life. I hear each member of the quartet catching hold of the sound.

The communication flows in the other direction, as well. I watch the quartets. I listen to what they have to say. I hear their rehearsals and performances. And then I go back home and think about how I might sharpen the music, make it more vivid, eliminate any awkward bits that get in the way of what I want the music to say. It's a rare opportunity in our current musical world. Most of the time, the first performance is also the last one. Thanks to workshops like the one at CMW, I have the luxury of taking a second look.

-Geoff Hudson, composer

Reminder: May 20-23 IMPS applications are due March 15.

Thanks to Jori, documentation of the March 2008 Imagining Art + Social Change conference is available in the form of a beautifully designed 38-page book. You can order your own copy of the book at blurb.com for $19.95, where you can also enjoy an online preview!

I was completely in love with the idea of playing string quartets professionally but really disenchanted with where people traditionally play string quartets and how its done. Simultaneously, I was very intrigued with the idea of music playing a role in education and specifically a role in transforming people's lives. I was working at Brown on some independent projects on music and moral education and finding those books and those conversations somewhat too oriented around what's good behavior and what's not good behavior. That's not the idea of moral education that I was fascinated with. I was more interested with what music can stir in someone's inner life in a very significant way that would make them want change personally. -Sebastian Ruth

You can also find all sorts of documentation of the conference at CMW's website (also available thanks to Jori).

-Heath Marlow, CMW staff

During February vacation's "Teaching Intensive Week," several CMW staff led special classes, including pilot classes designed for the parents of CMW students. Carole offered a class to help parents learn the basics of reading music. Here are a few excerpts:

Looking at a piece of music

We constantly are using terminology and symbols to write down these musical concepts to understand them. I often describe it as learning another language, because there are so many different small details to memorize and integrate into your thinking. When we first look at a piece of music, there are a few basic things that you will always see, and identifying these things is key to understanding how the musical notation on the paper relates to the music that we hear all the time. 

Pitch is exactly how high or low a sound is.

Note is the symbol we use to write pitches down on paper. The different parts of notes are head, stem, flag.

The Staff is the five lines and four spaces where we put our notes. Each line and space is given a name from the musical alphabet: A-B-C-D-E-F-G-A, and it repeats indefinitely.

At the beginning of a staff, you will see a clef. The clef tells you the name of each line and space. Each clef has a way of showing you where the notes fall on the staff that it is fronting. There are four different clefs, treble, bass, alto, and tenor. The clef is dependent on the instrument it is written for.

Treble clef is also called the G clef, it loops around the G-line on its staff. Higher ranged instruments like the violin, flute, guitar, or trumpet read music in treble clef.

Bass clef is also called the F clef, because its hook and two dots show you the F-line on its staff. Lower ranged instruments like the cello or double bass read music in the bass clef. 

The longest note you will have is a whole note. You can compare shorter note values to a whole note.  When thinking in terms of note lengths, we often use fractions to determine the lengths of notes.

Rests are symbols that show you where the silences are in a piece of music. Every note value has a related rest of the same value. 

Accidentals are symbols that indicate how a note can be altered in sound. There are three different accidentals. A sharp (#) will raise the pitch of a note by one half step. A flat (b) will lower the pitch by one half step. A natural (click here) takes away a flat or a sharp. It brings the note back to its original sound. 

Scales are groups of notes arranged in steps, just like a staircase. It starts and ends on the same note.  There are major scales and minor scales.