Watching “The Departed”. Was it cheaper to get the “Van Morrison/Roger Waters Live in Berlin” version of “Comfortably Numb”? Gilmore not a Scorsese fan…?
Also, I realize “broad strokes for Hollywood movie”, but after 5 attempts at trying to get the right starting tempo and it still being so off, is it wrong of me to want to throw the chair myself…? (Have I been in the scene for too long…?)
Once had a laughing fit on stage I desperately tried to hold in while playing in the orchestra, as I pointed out to friends of mine in the woodwinds that the 2nd movement sounds just like “Waltzing Matilda” and they kept trying to catch my eye every time the theme came back.
Quick summary for those who don’t know it: Hollywood director learned the idea that “Major = happy” and “Minor = sad”. While working on a movie, the director decided that it was going to be the happiest movie ever made…
Am I the only person who turns into Mr Cranky-“You’ve Entirely Missed The Point”-Pants every time I hear a cover of Lennon’s “Happy Xmas” that’s removed the “War Is Over” bits?
While the current piece is nowhere near as dark, the birthing process is difficult and I’m finding it hard to write more than a few bars before the “Blurgh” kicks in… any thoughts?
Composer twitter, here’s maybe a strange question, but how do you navigate anxieties when writing a work on a dark/triggering subject matter? Any suggestions to “detach” oneself during the process/view it more from a “technical” aspect?
As an example, I was asked to write something a while back that dealt with the absolute worst atrocities humanity can muster, and that lead to me getting shingles twice. (https://t.co/X40ORYkVm4 for those interested)
Hey, Classical Music Twitter - wanna take a break from arguing about notation and throw some thoughts into the atmosphere about swapping movements around in “The Planets” so that one can end on “Jupiter”…? (Extra points for thoughts on using a keyboard in lieu of choir…)