Yes, it's true! I have completed all due work, gone through the rounds, tripley-checked everything, and I am officially a high school graduate! Isn't that exciting? Well let's take a look-see...
Right now, I'm incredibly happy to be done with it all. All those nasty required classes that I hated so dearly, all that time spent doing lovely busy work that got my brain absolutely nowhere other than boredom, and those repetitive English classes that told me the same exact things for 4 years in a row. It feels great to be done with all of that, and although I'm sure it's done plenty to mold and shape me for the future, I'm glad to be finished.
The weird thing is, that's ALL I'm glad about (and getting to go to college, of course). When you graduate from high school, you get lots of congratulations cand you did it's and that sort of thing, and I can't help but think to myself, "What's the big deal? I only graduated from high school! I haven't made it through college, or grad school, or started a career of any kind yet. Aren't those the things that really matter?" Originally when I started thinking like this, I recognized the fact that there are people who don't manage through high school, but I didn't know the facts. So I checked: in my school district, 92% of students get a regular, 4-year high school diploma. In my state, 75% do the same. In the country, only 70% of students graduate from high school, and in some places the graduation rate is only 52% (check my facts here). The lowest graduation rates are found among Hispanics and African Americans.
Looking at these facts, I feel good about where I stand, and I'm happy about my school district and its good education. Thinking about this, I had it pretty easy, and there's no way I can sit here and say that these people who aren't graduating are stupid or that I'm smarter than them or more successful because I graduated high school and they didn't. I did an online program all through high school, and I saw some of what other students had to go through to get their degrees. There were single teen parents, kids who lived on their own, students with disabilities or handicaps. Maybe they were in those situations based on their mistakes, but I'm sure a lot of them were not, or at least regretted that one bad choice they made if that was the case. No matter what the case was, they all worked through to the end and got the diploma anyway, and for that I respect them.
I guess what I'm trying to say is I'm thankful for the situation I was put into. I had, for the most part, very good and respectable teachers who wanted the best for me, and I appreciate that. I had supporting friends and family, and I didn't have an overload of unwanted responsibilities outside of school that bogged me down or kept me from working. For this reason, I think the real congratulations should go to all those who did have to deal with those things, and made it through anyway. I just did what I was supposed to do. They went above and beyond.
-Phil
Tuesday, June 7, 2011
Friday, May 13, 2011
Composition Premier!
I had a very exciting experience last night, because I was given the opportunity to premier my very own, personally-written violin concerto! (Only movement I since the other movements aren't finished yet.) I composed the piece for full orchestra and solo violin surrounding last summer, and this year I showed it to one of my conductors who is also a composer and he told me to arrange it for string orchestra so we could play it! Last year the same orchestra played a movement of my symphony, which was fun, but I learned from composing and playing that symphony and I feel like this piece had many improvements. For one, the structure was much more, well, structured! Plus, everything flowed together much better on this piece. Everyone seemed to really enjoy it, and it got a standing ovation from the audience. The only sad part was I only had 2 or 3 weeks to learn the solo part myself, and let's just say I am not a very nice composer...that thing is HARD! I think I pulled it off enough to make it work though, and the orchestra sounded great!
For any composers out there (who I doubt would be wasting their time reading this), do whatever you can to get your stuff played, even if it's just a bunch of amateurs or younger musicians or whoever! If they're willing to play it, you can learn a lot from the experience. It really helps you find out what works and what doesn't. Even if you are completely certain that a certain idea will turn out some way, you would be surprised how different it can sound in real life than on a midi player or in your head. Sometimes it's better, sometimes it's worse. In my case, I think it was much better, and now I have a decent recording of it (which will also be useful in the future).
Now that I've edited it for string orchestra (and timpani) and solo violin, I'm wondering if I want to keep that orchestration. I kind of liked it...maybe I'll write it as both! Then I have to do the piano edition, and, and, and...this composition stuff has so much busy-work involved! But it's fun when I have time for it...
...and for all you NON-composers out there (who I also doubt would be wasting their time reading this), give it a shot. Even if it's just a simple melody, or a chord progression, it can be enlightening to put yourself in the seat of a composer. It gives you much more insight into what kind of methods composers might be using, and therefore gives you a better idea on the thoughts of composers. Personally, I think this has improved my ideas on music greatly. So go out there and write a masterpiece, keeping in mind that twinkle twinkle little star could be argued to be one of Mozart's greatest masterpieces!
-Phil
For any composers out there (who I doubt would be wasting their time reading this), do whatever you can to get your stuff played, even if it's just a bunch of amateurs or younger musicians or whoever! If they're willing to play it, you can learn a lot from the experience. It really helps you find out what works and what doesn't. Even if you are completely certain that a certain idea will turn out some way, you would be surprised how different it can sound in real life than on a midi player or in your head. Sometimes it's better, sometimes it's worse. In my case, I think it was much better, and now I have a decent recording of it (which will also be useful in the future).
Now that I've edited it for string orchestra (and timpani) and solo violin, I'm wondering if I want to keep that orchestration. I kind of liked it...maybe I'll write it as both! Then I have to do the piano edition, and, and, and...this composition stuff has so much busy-work involved! But it's fun when I have time for it...
...and for all you NON-composers out there (who I also doubt would be wasting their time reading this), give it a shot. Even if it's just a simple melody, or a chord progression, it can be enlightening to put yourself in the seat of a composer. It gives you much more insight into what kind of methods composers might be using, and therefore gives you a better idea on the thoughts of composers. Personally, I think this has improved my ideas on music greatly. So go out there and write a masterpiece, keeping in mind that twinkle twinkle little star could be argued to be one of Mozart's greatest masterpieces!
-Phil
Lizards, Reptiles, and Other Creepy Crawlies
Once upon a time, there was a young man. This young man loves going to the zoo, and every chance he got he would go straight to the "Lizards, Reptiles, and Other Creepy Crawlies" building. He would spend hours there, staring at the giant spiders and the little blue frogs. Every time the Giant Cobra was shrouded from view in the foliage, the young man would be irrevocably upset. After all, it was one of his ten favorite animals of all time.
Still, after several years of this, the young man's mother became very worried about her son's growing obsession. It was not so much that she disapproved of his clear delight in the animals, it was that sometimes he would begin to copy their movements and act like them. She simply couldn't stand a son who slithered like a snake or flopped about like a frog. Sadly, though, no matter how much she chastised him for this growing behavior, he remained obstinate. She had a growing trepidation that he would continue and even increase these actions. Somehow, it needed to end.
She tried to think of all the reasons he would act like this, to perhaps eliminate it so the odd behavior would go away. Could it be congenital? she asked herself. No one has ever found such interest in animals in this family before, she realized. No, this was definitely unique, and there was no cause other than his outright obsession. Suddenly, the young man's mother had an epiphany. Perhaps it was presumptuous of her, but she had to try.
On one of those particular days during which the young man made his way to the zoo, his mother was waiting for him in secret. As he walked by, she flung a snake upon him. It was only a small garden snake, but nonetheless her endeavors were successful. The young man immediately let out a scream of terror, and ran for his life, never to return to the "Lizards, Reptiles, and Other Creepy Crawlies" building again.
-Phil
Still, after several years of this, the young man's mother became very worried about her son's growing obsession. It was not so much that she disapproved of his clear delight in the animals, it was that sometimes he would begin to copy their movements and act like them. She simply couldn't stand a son who slithered like a snake or flopped about like a frog. Sadly, though, no matter how much she chastised him for this growing behavior, he remained obstinate. She had a growing trepidation that he would continue and even increase these actions. Somehow, it needed to end.
She tried to think of all the reasons he would act like this, to perhaps eliminate it so the odd behavior would go away. Could it be congenital? she asked herself. No one has ever found such interest in animals in this family before, she realized. No, this was definitely unique, and there was no cause other than his outright obsession. Suddenly, the young man's mother had an epiphany. Perhaps it was presumptuous of her, but she had to try.
On one of those particular days during which the young man made his way to the zoo, his mother was waiting for him in secret. As he walked by, she flung a snake upon him. It was only a small garden snake, but nonetheless her endeavors were successful. The young man immediately let out a scream of terror, and ran for his life, never to return to the "Lizards, Reptiles, and Other Creepy Crawlies" building again.
-Phil
Wednesday, February 2, 2011
The Revenge of Biber
I've got Biber Fever, but it ain't coming from Justin Biber.
We all recognize the name of Justin Biber, the teen idol who has somehow managed to make himself one of the most familiar faces and names in the country, despite his obvious lack of any musical creativity. By the way, if you have never heard of Just Biber, 1) you really should get out more, 2) congratulations, I am incredibly envious, and 3) I'm really sorry for introducing you to him; I honestly wouldn't blame you if you stopped reading right now. Anyway, Biber is big, a millions of people know about him.
But there's another Biber who almost no one knows about. The Biber that I'm talking about, Heinrich Ignaz Franz von Biber, came from 17th century Bohemia, played the violin and composed in several major courts of Bohemia and Italy. By many music historians he is considered the greatest violinist of the baroque period of music. He has an enormous amount of brilliant music to his name, and at the time had a large reputation as a talented violinist and composer.
So why does no one know anything about him today?
Sadly, there is very little good reason for this. A contemporary of Biber's, Arcangelo Corelli, was also well known as a violinist and composer, but did not explore the possibilities of composition as much as Biber. J.S. Bach, the man whom music was forever modeled after, studied and was highly affected by the works of Corelli, but not nearly as much (if at all) by Biber. Of course, Bach was a genius, and took the work and ideas of Corelli to a whole new level and beyond - no one can deny that. The question is, what would have happened if music had continued in lieu of Biber's musical ideas. There were some who took on his quirky style, such as J.C. Bach, and much, much later, Paul Hindemith; but otherwise his work has been thoroughly unrecognized.
Now Biber has decided to take his revenge.......BY SENDING THE ANTI-BIBER!!!
That's right, Just Biber is the anti-biber, sent here to remind us all of how we betrayed the awesomeness of Heinrich Ignaz Franz von Biber. All we have to do is start listening to the original Biber, and maybe - just maybe - Just Biber will go away. It's a rough theory, but it's worth a try! So let's get out there, get on youtube, get on itunes, and start listening to Biber! If you play an instrument, start working on something by Biber. He has quite a selection of vocal, violin, and even a few trumpet works. Here is a favorite of mine to get you started. This is the Battalia suite, which Biber wrote to signify different aspects of war. It is a perfect example of his unique composition style, and how he wasn't afraid to use different sounds and counterpoints.
-Phil
We all recognize the name of Justin Biber, the teen idol who has somehow managed to make himself one of the most familiar faces and names in the country, despite his obvious lack of any musical creativity. By the way, if you have never heard of Just Biber, 1) you really should get out more, 2) congratulations, I am incredibly envious, and 3) I'm really sorry for introducing you to him; I honestly wouldn't blame you if you stopped reading right now. Anyway, Biber is big, a millions of people know about him.
But there's another Biber who almost no one knows about. The Biber that I'm talking about, Heinrich Ignaz Franz von Biber, came from 17th century Bohemia, played the violin and composed in several major courts of Bohemia and Italy. By many music historians he is considered the greatest violinist of the baroque period of music. He has an enormous amount of brilliant music to his name, and at the time had a large reputation as a talented violinist and composer.
So why does no one know anything about him today?
Sadly, there is very little good reason for this. A contemporary of Biber's, Arcangelo Corelli, was also well known as a violinist and composer, but did not explore the possibilities of composition as much as Biber. J.S. Bach, the man whom music was forever modeled after, studied and was highly affected by the works of Corelli, but not nearly as much (if at all) by Biber. Of course, Bach was a genius, and took the work and ideas of Corelli to a whole new level and beyond - no one can deny that. The question is, what would have happened if music had continued in lieu of Biber's musical ideas. There were some who took on his quirky style, such as J.C. Bach, and much, much later, Paul Hindemith; but otherwise his work has been thoroughly unrecognized.
Now Biber has decided to take his revenge.......BY SENDING THE ANTI-BIBER!!!
That's right, Just Biber is the anti-biber, sent here to remind us all of how we betrayed the awesomeness of Heinrich Ignaz Franz von Biber. All we have to do is start listening to the original Biber, and maybe - just maybe - Just Biber will go away. It's a rough theory, but it's worth a try! So let's get out there, get on youtube, get on itunes, and start listening to Biber! If you play an instrument, start working on something by Biber. He has quite a selection of vocal, violin, and even a few trumpet works. Here is a favorite of mine to get you started. This is the Battalia suite, which Biber wrote to signify different aspects of war. It is a perfect example of his unique composition style, and how he wasn't afraid to use different sounds and counterpoints.
-Phil
Thursday, November 11, 2010
Long time no see
Wow it has been a really long time since I've posted anything. I should change this.
Post.
Yay all better :)
-Phil
Post.
Yay all better :)
-Phil
Tuesday, September 14, 2010
Arvo Part
I was recently watching an interview with modern composer Arvo Part (which can be found here: http://www.youtube.com/watch?v=2pDjT1UNT3s) which really struck me with some new ideas. Lately I've been listening to a lot of very dense, complex music such as Beethoven and Brahms, filled with extreme counterpoint and thick harmonizations. I love this music! The activity that it creates is phenomenal and, in my opinion, shows how brilliant composers like them are. I have been realizing more and more, though, that there is an opposite, yet equally astonishing kind of music, that shows the simpler side of tonality. Composers such as Arvo Part believe that the purity of a single tone is enough to create beautiful music. While Brahms can sometimes have an extraordinary number of lines going at the same time, such as a bass, a moving underlying line, and melody, a countermelody, a harmony, etc. etc.; the majority of Arvo Part's music only ever has 2 lines at once. In his own words, he says that he likes to think of one line representing sins, and the other representing forgiveness; one line being more busy and moving, the other very simple and still. This kind of music does not force brain activity like a Beethoven symphony or a Brahms sextet does, but it produces emotions just as easily, and some might even argue more-so (though that might be going too far).
Arvo Part isn't the only one who composes in such a manner. Many of the modern minimalist composers have the idea that a simple line of tones, or row of basic repeated chords can create just as much emotional impact as a complicated counterpoint can. Philip Glass uses gradually changing chord progressions to create his music. These progressions are often repeated multiple times (calm down music theorists, it really is okay!) until they are only slightly changed to eventually progress the music. (His set of Metamorphoses is a very good example of this. My personal favorite is Metamorphosis 2:http://www.youtube.com/watch?v=CcyTyLqkvoU).
I do find the difference between complicated and simplicity very interesting in music. It's fun to explore the difference in playing, listening, and even writing in both styles and also trying to find in-between areas that work well. I encourage anyone who might have any interest in doing the same to...well...do the same! :)
Phil
Arvo Part isn't the only one who composes in such a manner. Many of the modern minimalist composers have the idea that a simple line of tones, or row of basic repeated chords can create just as much emotional impact as a complicated counterpoint can. Philip Glass uses gradually changing chord progressions to create his music. These progressions are often repeated multiple times (calm down music theorists, it really is okay!) until they are only slightly changed to eventually progress the music. (His set of Metamorphoses is a very good example of this. My personal favorite is Metamorphosis 2:http://www.youtube.com/watch?v=CcyTyLqkvoU).
I do find the difference between complicated and simplicity very interesting in music. It's fun to explore the difference in playing, listening, and even writing in both styles and also trying to find in-between areas that work well. I encourage anyone who might have any interest in doing the same to...well...do the same! :)
Phil
Monday, June 7, 2010
Carnegie Hall
So I did it. I performed in Carnegie Hall
Let me break it down into a timeline:
May 27 - the string quartet I'm in flies out along with our coach to Boston, MA for the semi-finals of of ICMEC (International chamber Music Ensemble Competition) at Boston University. Rehearsal for 1.5 hrs that night after arrival.
May 28 - travel to BU fine arts building and rehearse for 2-3 hrs with breaks. Audition in a small studio with an audience of 3 judges. That night our coach receives the call that we made it to the finals in New York on the following Monday, and we will be playing the 1st movement of Mendelssohn Quartet Op. 80. CELEBRATE!
May 29 - sleep in. rehearse 3 hrs straight in the afternoon, followed by more celebration in Boston.
May 30 - Leave on a bus for New York City. Once we are settled in, we have an hour of rehearsal time in the hotel.
May 31 - Dress rehearsal in Weill Hall at the Carnegie building. Lose camera, don't get pictures of hall :(. Another hour of rehearsal back at the hotel afterwards. Find camera. Get dressed. Go to Carnegie Hall. Freak out. Perform in Weill Hall.
We performed in a concert with 8 other groups. We ended up not placing in the top 3, but being there alone with amazing musicians from across the world was an epic win from my viewpoint. I mean, seriously, the gold prize was a professional group from Turkey. O_o
Anyway, I just had to get on here and say how awesome it was, and how thankful I am that I got to have that experience. The stage was amazing, and thinking about all the performances that had taken place there before me is a really awesome feeling.
-Phil
Let me break it down into a timeline:
May 27 - the string quartet I'm in flies out along with our coach to Boston, MA for the semi-finals of of ICMEC (International chamber Music Ensemble Competition) at Boston University. Rehearsal for 1.5 hrs that night after arrival.
May 28 - travel to BU fine arts building and rehearse for 2-3 hrs with breaks. Audition in a small studio with an audience of 3 judges. That night our coach receives the call that we made it to the finals in New York on the following Monday, and we will be playing the 1st movement of Mendelssohn Quartet Op. 80. CELEBRATE!
May 29 - sleep in. rehearse 3 hrs straight in the afternoon, followed by more celebration in Boston.
May 30 - Leave on a bus for New York City. Once we are settled in, we have an hour of rehearsal time in the hotel.
May 31 - Dress rehearsal in Weill Hall at the Carnegie building. Lose camera, don't get pictures of hall :(. Another hour of rehearsal back at the hotel afterwards. Find camera. Get dressed. Go to Carnegie Hall. Freak out. Perform in Weill Hall.
We performed in a concert with 8 other groups. We ended up not placing in the top 3, but being there alone with amazing musicians from across the world was an epic win from my viewpoint. I mean, seriously, the gold prize was a professional group from Turkey. O_o
Anyway, I just had to get on here and say how awesome it was, and how thankful I am that I got to have that experience. The stage was amazing, and thinking about all the performances that had taken place there before me is a really awesome feeling.
-Phil
Subscribe to:
Posts (Atom)