Moving out of 16 Armstrong

Another re-discovered post from a while back. I'm guessing mid-August 2010.

It's been over a month since I moved, and my new apartment feels like home, but it is never easy to turn your back to anything you've been close to for a while. At the end of July, I left 16 Armstrong St. for the last time.

I'd lived in that apartment for three years. It was nicely broken in, and I felt settled. When we secured this new place, I really didn't think at all about how strange leaving Armstrong was going to be. Our two leases overlapped for the last two weeks of July, and I didn't hesitate to begin the move right away. I stayed in the new place on the first night, and all I had was a duffle bag full of clothes to use as a pillow. My brother and I moved most of my belongings in one day, and after that, I was basically done living on Armstrong.

I went back there every day to clean the place, pack a few more boxes, and even rehearse with Richard Saunders (a great vocalist I have a duo with). At one point, there were only two chairs left, and nothing except bookshelf and dust in the living room.

I started spending all my free time there during the day, even when I was not busy cleaning. My roomates were there at different times (much earlier usually), so I was often alone. About three days before the lease ended, I moved the last of my belongings (again with my brothers' help) over to my current dwelling. It was then that this reflective feeling started to sink in. My brother asked how I was feeling about this, and I told him that it was starting to feel strange.

The next two days were fairly busy - my roommates were making sure everything was tidy (so as to not lose our deposit), and we spent more time there than usual. On the last night of the lease, I was there from about 8PM to Midnight. Casey (my longtime friend and roommate of a year) showed up at about 11PM (from work) to help take down the last of the trash (there was alot of trash). We had one or two more trips to make when I asked her if we could stay there for a while after we finished because I wasn't ready to leave. With that, I started to cry.

Moving into that apartment was the first good thing to happen to me after my mother died, and I think that's what had struck me the most upon leaving it. Knowing a place really well isn't everything (although I will admit I got a slight sinking feeling in my gut when I moved out of my dorm after freshman year), but I don't think I'll ever forget what that place looked like, the experiences I had there, or any of the five other people I lived there with over that time.

North Adams Trip/Bang on a Can Concert

About a week ago, Jared Burrell and I set out to North Adams, Massachusetts (3 1/2 hours from Boston) to hear an afternoon concert given by the participants at the Bang on a Can summer institute at the Massachusetts Museum of Contemporary Art. I had gone to their marathon concert in NY a couple years ago (another long haul from Boston), but this was in a much more remote location, and the experience I had getting there was also remarkably different (this one was favorable).

We drove all the way across the state on Route 2, and considering the scenery, it's at times hard to realize that this is the same route 2 that runs into Downtown Boston. These days, the hills, valleys, and peaks we rode through are much more interesting to me than any city skyline could be. My phone had run out of batteries by the time we met up in Braintree, but I would have taken pictures. The whole ride was really fun. It felt great to be in a car (instead of a bus or a train) and Jared and I always have really good conversations.

North Adams is a town full of abandoned industrial buildings that were converted into artist spaces. I got a really nice feeling from being out there, and if I ever decided to just be a composer (and not perform with anyone) I'd want to call a town like that home.

Upon arriving in North Adams, we had lunch in a coffee shop that served great hamburgers. In Boston, coffee shops don't go anywhere near hamburgers. I like the non-specialization that happens in smaller communities that (although small) have to cater to a wide variety of people.

The concert was in a black box theater with seats that gradually rose like bleachers. On the way home, we discussed what we heard, and came to the conclusion that most of the music was really good, but aesthetically limited. This group was founded by three composers who have similarities in their musical language, and while other concerts that week featured some varied styles and composers, it was clear that most of the composers picked for the institute were chosen for the amount they had in common with each other, and the founding members of the organization. This gave Jared some peace of mind, as he had wanted to be part of the program.

This has to be the only time I'd gone to a Dunkin' Donuts twice in one day, but despite this, things got a little quiet towards the end of our return trip. I think it was because of the lack of sun after 8:30 or so. Jared admittedly tends to miss turns and stuff while driving, and this is made worse in the dark.

I wish he had dropped me off in Cambridge (right off of rt.2) instead of in Braintree, because the red line was running shuttle busses between Quincy Center, and JFK/Umass. This was really strange, but I suppose I took note of some oddly interesting (or just strange) people/streets, and it only added about a half-hour to my entire day.

Overall, I had a great time. I was reminded that my roots are outside of the city, got to spend a day traveling with a friend I've known for ten years, and am happy that I'm working with so many different people and influences.

Now...

that I have internet in my new home, I can write some new posts.

Chorus Series for Public Spaces

These pieces are meant to be performed by a medium to large group of people spread around a concentrated public space. They can be performed alone, or as a set, and may be superimposed upon each other in various ways, or juxtaposed with the performance of other un-related pieces. The members of the chorus need not have any musical experience.

- Jason Belcher (6/22/2010)

Chorus I - Warren

(for Warren Senders)

1 begins by singing or playing a note (always a held tone).

others come in one by one, each with a new note.

When the entire ensemble is actively singing, move around (in a circle, randomly, and if in a hall, moving about the audience).

The phonetic content to be sung is reflected by the title of this movement, and should be divided up as follows:

1.) Wa… (W attack only once then always on an open "ah" sound)

2.) rr… (closed, but held, and retaining pitch)

3.) e… (as within the word Warren)

4.) n… (closed, but held, and retaining pitch)

The morphing to the next syllable should not happen precisely together, but the performers should listen, and generally follow one another. Soft but frenetic improvised figures can pop out of the texture towards the middle of the piece, but should not happen too often.

This movement should last from 6-10 minutes.

II. She

She had this incredible urge to tell the whole story all the time.

- Anselm Hollo

The Hollo poem is broken up into cells (see below). The cells should be repeated - not too long, but long enough for the addition or subtraction of a word to be interesting. Also, the ensemble should move through the cells together.

The overall density of the ensemble should expand and contract with the addition or subtraction of words. When the ensemble reaches the word time, they should fade to nothing, and the movement is over

The words should be spoken and sung. There should be little sense of meter, and all performers should be conscious of the overall ensemble sound.

This movement should be anywhere from 4-6 minutes in length

II. She

1 - She

2 - She had

3 - She had this

4 - She had this incredible

5 - She had this incredible urge

6 - She had this incredible urge to

7 - She had this incredible urge to tell

8 - She had this incredible urge to tell the

9 - She had this incredible urge to tell the whole

10 - She had this incredible urge to tell the whole story

11 - She had this incredible urge to tell the whole story all

12 - She had this incredible urge to tell the whole story all 

13 - She had this incredible urge to tell the whole story all the

14 - She had this incredible urge to tell the whole story all the time

15 - Had this incredible urge to tell the whole story all the time

16 - This incredible urge to tell the whole story all the time

17 - Incredible urge to tell the whole story all the time

18 - Urge to tell the whole story all the time

19 - To tell the whole story all the time

20 - Tell the whole story all the time

21 - The whole story all the time

22 - Whole story all the time

23 - Story all the time

24 - All the time

25 - the time

26  - Time

III. C’mon

Take the title, and speak/sing it using different inflections/durations of sounds.

Performers should also isolate different sounds from within the title (C = hard “K” sound, m = closed M sound of any length etc.).

There may be different sounds happening at the same time, but there can also be coordination between performers and the sounds they are making (for example, the performers could all be making a short, hard K sound for a moment or two). Like the previous chorus, strict rhythm should be avoided).

This piece should not exceed the length of 4 minutes, and could be as short as 15 seconds.

IV. Tubacases

(for Beth)

This movement is similar to movement II in its construction and execution. The ensemble should treat each line like a cell that can be freely repeated until the ensemble is cued to move on (by the conductor or group leader).

Velocity and density should build from a soft dynamic and peak at cell 9, which should be a little longer than other cells.

This movement should be 3-5 minutes in length.

IV. Tubacases

1 - The

2 - To The

3 - The Tuba

4 - The Tubacase

5 - The Tubacase Can

6 - The Tubacase Cannot

7 - The Tubacase Cannot Cross

8 - The Tubacase Cannot Cross The Road

9 - The Road

10 - The Road On

11 - The Road On Its

12 - The Road On Its Own

13 - The Tubacase

14 - The Tubacase Cannot Cross The Road On Its Own

15 - Cross The Road On Its Own

16 – The Road On Its Own

17 – Road On Its Own

18 – On its own

19 – Its Own

20 - Own

P I A N O M U S I C

Piano Music
For Ben Stepner

DIRECTIONS:

This piece should consist of long, freely sustained notes. The duration of the notes should always vary in length, and most notes should be very soft (though there can be variations on exact dynamics, sustain, and timbre). The piece can be anywhere between 4 and 9 minutes in length.

The majority of attacks should consist of only two pitches struck simultaneously (there can be occasional exceptions). Attacks with more than two pitches should be limited, and should follow two-pitch attacks rather quickly.

Most of the two-pitch attacks should have intervals larger than a major seventh. There can be contrary motion, parallelism, and repeated notes (for example: Bb1 and C5 could be struck together, twice in a row). The whole keyboard should be utilized, as should especially wide intervals.

Attacks can occasionally be loud, or contain intervals smaller than a major seventh.

There should be no tonal center, though short tonal sequences are encouraged.



JASON BELCHER – 7/9/2010

Roma Band log 2

This past weekend was a big one for parade bands all across the country, and members of the Roma Band found themselves traversing the South Shore of Massachusetts for much of that time.

I'd arranged for car transport with Ben Miller, and on every trip we had to make, we were always in the company of at least one other person. On Saturday afternoon we met up in Porter Square (Cambridge) near where Ben lives. On the train to Porter, I bumped into my cousins Brian and Sandra, and my Aunt Sharon (Sandra recently moved to Porter). This was a completely random meeting, but it was really nice, and is definitely a building block in what makes this Independence day weekend so memorable.

Josh Mizruchi, a trumpet player who's been involved with a lot of my projects at NEC, played his first gig with us that day. It was fun to have him there, both for the parade, and the necessary driving. I must re-emphasize my joy in seeing the world from a car. North of the Bunker Hill Bridge, I-93 is still elevated, and it was wonderful to see that view again after at least a few years.

Our first parade was in Randolph, MA. Not too far (none of them were) from Boston. The band was the largest it had been since the Cambridge event, and you could feel it. Thankfully, this parade was not too long, and we did a lot of playing. I left my horn in the trunk Ben's car overnight, and was glad not to have to lug it back to Porter Square in the morning.

The next day, I ventured out to Porter again. This is an area that I once lived near, but I seldom stop to think about that time (it wasn't too fun). I recently had a bad dream about it.

With Ben and I on the 4th was his friend Natalie, a therapist/drummer who trains "service monkeys" in Allston. I don't know about you, but Allston is not the first place I think of as having a monkey population - it does make sense, though, when you think of all the parties that happen, and the "hipsters"/"art freaks" that reside there. This was Natalie's first marching gig since high school, and I think she's planning on joining us again.

We also had a bass drummer, and this helped add to the music. Her name was Maggie, and she has to be about 14 or 15 years old. The youngest member of that first group was a ten-year-old trumpet player named Ben, who was playing with his father. I didn't get to hear him in the front line, but I think the age range of this band is incredible.

Our first parade that day took place in Hingham, a well-off seaside town with a huge audience for this particular event. I used to attend a summer music festival there, and it was one of the more important things for my education as a kid. It is called the South Shore Conservatory, and was very much akin to conservatory life - full of music, energy, and great fun.

After that parade, most of the band drove to the manager's house for a cookout. It was more of an eat-in due to the heat. After we ate, we all took naps in their livingroom, guest bedroom, and hallway. They insisted on it, but it definitely helped us get through the rest of the day in good spirits. We had a good amount of time before we had to take off again.

Our third and final parade of the weekend took place in Norwood, up Washington Street, the same Washington street that goes up through Boston. It was the longest parade of the weekend, but it moved fairly quick, and had the biggest crowds.

Afterwards, we drove onto I-95, going around Boston and into Cambridge. I went to the Charles River to see the fireworks, though this was probably a bad idea (I still had my horn). before they were over, I made my way out of the crowd, and got to the train before not too long. This has been the second year in a row that I hadn't camped out on the esplanade all day, heard the concert, and saw the fireworks. I miss it, so I decided I had to see something of it - no matter what.

After a public transportation fiasco (catching an inbound 39 bus to Back Bay station, and getting on the orange line), and seeing an impromptu fireworks display in the basketball court near my house, I got home at about 12:30AM. This is not the latest I've ever gotten home, but I've seldom been more exhausted.

the Unofficial Franklin Park Research Outpost (visit 1)/Multimedia Project

I was visiting my grandparents in Middleboro last weekend when I chanced upon an interesting article in the Boston Globe about an artist's installation of found objects in Franklin Park. I've been thinking about acoustic sound installations, or music for public spaces recently, so I took interest in this project.

The outpost is a hut created with logs, branches, rope, and a tarp. It is very well made, and contains objects which have been found in the park, or left by visitors. It is meant to tell us how the park is used, who uses it, and how nature and the study of our surroundings can benefit humanity. Since the artist (whose name is Brandon Nastanski) did not seek a permit to create this work, it will most likely be discontinued by park rangers and city of Boston (they have left notices by the outpost implying its future destruction).

Because of my interest in public spaces and functions such as travel, one of my Summer projects is to create video of Boston-Related activities to be used in a large vocal work. It will be somewhat like an Opera, but with no plot, or specific characters. I hadn't figured out an interesting way to incorporate nature into the mix of trains, skyscrapers, and street activity, but I knew that this was it as soon as I saw it.

The article I read states that the outpost is located on the J.P side of the park, "near the Glen Road entrance." It is also at the base of a stone outcropping. With this information, plus a video of the outpost on Youtube, I was able to locate it on google earth (you can actually see it!), though on my first visit to the park, I had been unsuccessful in finding it.

My good friend Daniel Hawkins is helping me with the video project, so today we went to the park, and with the images from google in mind, again tried to find the outpost. A little over an hour into our search, we had basically given up, and just after turning back, we ran into the artist himself, who asked us if we were "looking for an outpost."

We said yes, and he led us there. It was less than a minute from where we had turned around, but was down a hill, and was not easily visible from where we were standing before. He being interviewed by an art critic from the Boston Phoenix, so in addition to finding the outpost and meeting its creator, we were also able to hear the background of the project directly from him. It was great to sit in on this, and I'm grateful that he let us (alot of people are like to keep those kinds of things private). We told him a little about our project, and he said he would be glad to collaborate in the future. Sometime soon, Daniel and I will go back to take video of Franklin Park and the outpost, but we needed to find it first.

On our way back, we met a kid in green Street station who saw Daniel's Audio equiptment and told us he was a rapper. Daniel gave him the microphone, and he asked if we could give him a beat. I tried my best, and we recorded him before the train came. He said he often performed at the Hyde Square Task Force, so we may see him again. This experience gave us a base for another aspect of the project - audio recordings of people from the city. We agreed that we won't go out looking for those, but if we happen upon them (like today), we can use them for something. This is the first day Daniel and I have gone out to work towards the video project, and I think it's really going to work.