Music Composition: 2 Sides (2024)

The first two pieces (1a and 1b) represent two reifications or realizations of the same set of basic musical material. Two different views, from different angles and different lighting, of the same object.

These were made on a modular synthesizer, which is an instrument of near infinite sound design and compositional options. Yet nothing is savable. It’s like writing a novel in a word document that can’t be save. You either keep working, finish, and print it before closing the document. Or keep your computer turned on, document running, and hope for the best.

But what seems like a limitation is in fact a gift: impermanence. 

The tool dictates a process: trust your instincts; make decisions; get the most out of your material; record it; walk away.

Come back and keep going: what else can I make from this material? 1a and 1b represent two of perhaps 20 or more iterations. Some of them are good work; some not so much. Some days I really like 1f; on other days, it does nothing for me.

Next, unplug every cable, reset the dials, and start the next piece: 2a and 2b (and 2c, 2d, 2e…)

Another analogy: if you only have two watercolors on your palette, what are all the colors you can make? And what textures? Keep going. Keep mixing, keep experimenting. At some point you’ll end up with nothing but brown. But until then, the possibilities are nearly endless. Then, wipe your palette clean and start again.