Record Credo of Genre Implosions No. 1 and do orchestration of Variations on Americana, astoundingly through page 16.
Before this, help Nick Montes re GarageBand, and do a demo recording of Difficult from Vocal Sonatina No. 1 ("Spitzer"), ultimately with Helium Voice which maybe, possibly, kinda is a keeper -- actually finishing it at home.
Previous to that, Richard Rodgers Sound of Music: Do-Re-Mi first 16 bars in Theory for dictation, sight-singing, and harmony -- how can one resist the apparently only other song to feature solfege on sequential notes of a scale since Guido d'Arezzo's Hymn to St. John? One can't.
we look unto the hills, from whence come our salvation. Powerful gasoline, a clean windshield, a shoeshine, and redwoods-hard-up-against-chaparral help.
And music, always music, maybe Mahler maybe Mark mayhem and mild -- birds, the rustle of leaves, an occasional vehicle -- sounds rising from the riparian depths to the high oak savannas.
(one hopes, however, for the absence of certain strains, warned in the mossy slopes,
of cause and response, call and effect).
Naturally Napa for this ninth and final official day of spring break, in a symmetry of knarled limbs
and a symphony of elfin overhangs;
a verdant Vermontian, Verdian tunnel --
Stravinsky sinuously soaring to the sky.
Out of the canyon, heading back down south toward Orchard Road, there's Mt. George again,
across a sea of vineyards, and
looking back to the east side canyon checkerboard of vegetation,
even a few digger pines.
Back in the car, we cruise up canyon again and down into Oakville again, south Route 29 again,
dining at Mustards, across from a mansion in the Yountville Hills, ordering beer (of all things)
chez Budweiser Fairfield (of all places), which we pass on the way back, the wind so severe that even the horizon, atilt, is moving up.
Shadows are moving up, too, on the Fairfield Pyramids and
Poverty
Hills,
and the North Lagoon Mountains near Vacaville,
where sycamores,
palms and tulip trees glow for an instant, then it's night once more.
Record instrumental version of Vocal Sonatina No. 2 ("Vatsyayama"): III. "On the Means of Attracting Others to Oneself"
Mark Alburger (b. 1957, Upper Darby, PA) is an award-winning, eclectic ASCAP composer of postminimal, postpopular, and postcomedic sensibilities. He is Music Director of San Francisco Composers Chamber Orchestra and San Francisco Cabaret Opera / Goat Hall Productions, Editor-Publisher of 21st-Century Music (P.O. Box 2842 San Anselmo, CA 94960) and New Music, Music Critic for Commuter Times, and Instructor in Music Theory and Literature at Diablo Valley College. His principal teachers were Gerald Levinson, Joan Panetti, and James Freeman at Swarthmore College (B.A.); Jules Langert and Ted Blair at Dominican University (M.A.); Roland Jackson at Claremont University (Ph.D.); and Terry Riley. Dr. Alburger has composed 177 major works over the past 35 years, including chamber music, concertos, oratorios, operas, song cycles, and symphonies. His complete catalogue is being issued on discs from New Music ($15 / P.O. Box 2842, San Anselmo, CA (707) 451-0714). markalburger.blogspot.com,
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