d shapes that are interesting. That the best pieces are usually based on one simple idea — a motif or melody, in graphic terms represented for example by, say, one curved line varied in a number of different ways — and that this single idea can be the basis for a whole movement or even a whole work. (I played examples from the classical composers.) Also that the sonata form is made from two contrasting ideas (say, a curved line for the first theme and then a series of dots for the second) presented separately and from which a conflict can result when these two ideas are presented together, suggesting the need for a resolution. I made the analogy that, in this way, a piece of music, essay, speech, novel, play or movie all operate on the same basic principle – conflict and resolution based on one simple underlying idea. I pounded this point home for two months, always using graphics as the mode of notation because I could create musical examples very quickly in this way.
 
WN: Two months? How often did you visit?
MC: In the first semester, the whole class, about twice a week. In the second semester we whittled the group down to those who wanted to write graphic pieces for the May Esprit concert.That left a group of five student musicians: horn player Amy Kazandjian, violinist Coco Chang Chen, cellist Jenny Eng, singer Jana Vigor and guitarist Lucian Gray.
 
WN: And then?
MC: A most interesting”problem”.  As I got deeper into graphics with the five I suggested that they might insert in with the graphics some conventionally notated material with staff lines and clefs and rhythms etc. They liked that, ... in fact began to get the urge to write a whole piece with conventional notation. This raised my eyebrows because this kind of highly advanced work in composition can take months, or years, and our performance deadline was only six weeks away! We could write orchestra pieces with graphic notation in that time, but scoring their pieces with specific rhythms, chords, orchestration and voicings ...  I was pleased that working metaphorically with graphics had given them insights and confidence, but the thought of making the quantum leap into full scoring for orchestra in the time we had left felt like the symptoms of a heart attack.
 
WN: So what did you do?
MC: Told them that if they were willing to make the necessary visits to my home for private lessons I would do it. I had three two-hour visits each with two of them, four with another and five with another. These sessions were very intense and interspersed with e-mails. Their pieces began to take shape, but even so, two weeks before the deadline I almost phoned Alex Pauk to say that we would have to bow out. Instead I made myself available anytime of day or night in these last two weeks and they came through with very hard work.  We were still working out details on the pieces during the three-day rehearsal period, actually writing and re-writing between rehearsals to put on the final touches. It was only at the last rehearsal I heard for the first time the completely finished works and I could hardly believe it. Leaving that rehearsal I was so excited I walked all the way home from the MaRS building saying to myself, “We did it! We did it!” I could hardly sleep that night. The dress rehearsal and concert two days later on May 7 sounded even better and the audience at the premieres was extremely impressed, giving each composer a resounding applause. Watching each of them bow somewhat self-consciously following their work brought tears to my eyes.
 
NEXT TIME:
“Creative Sparks” afterthoughts, and more on graphic notation.

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