Updates, coming soon.

Now that I've dropped one of my more time consuming classes, I'll be posting some updates. While I found the daily composing to be a bit hard and possibly unhealthy on my creativity, I feel it's in my best interest to attempt some more-than-occasional writing.

First on the agenda is the woodwind quintet piece (Thirty-Two)-- I have some revisions I need to make, which I will post as I finish them. I may have mentioned that it was finished a few months ago, but while I might not have been composing daily I've at least be contemplating it daily, and it needs some work. (Also, a review of the piece in early August with my old professor led to some suggested alterations which I think will help tighten up the piece quite a bit.)

Second is the piece I mentioned in the previous post, based off of material from Twenty-Seven. One thing at a time, however. We'll get to this eventually!

See you soon, I hope!

33 ... coming soon.

Next Monday I'll be starting on a new composition, based on material from Twenty-Seven. The latter half of it has always appealed to me. I might try and work in some material from the tuba solo in Thirty. I'll shoot for seven days again, though after the eleven days it took for Thirty-Two, I'm obviously in no rush. A fully composed piece is a fully composed piece, no matter how you look at it.

I wish I had better reasoning for neglecting my compositional promises, but I've just been avoiding it. It's something I need to do, for sure. I may do a writing day this weekend, possibly about John Cage, since there is quite a bit to say about him and his ideology is one of the reasons why I chose to study music at the ripe age of 19.

So, my few faithful readers, get your bookmarks, RSS feeds and refresh button ready. I know I'll have a hard time keeping up with the Daily Composer when classes start at the end of August, so let's see if I can get some writing done before then.

I haven't given up. Not completely!

Not that the ODEO one is bad, but I'd like to host it locally and not rely so much on third-party linking.

This one is open source and pretty nice, I believe. Thoughts?



I'll be back in the groove soon, hopefully before the week is up. I may have mentioned it before, but when I have lots of down time I tend to be very unproductive. Perhaps I should have taken a class or two this summer.

Thirty-two. (Day 11.)

A week later ... I needed to take a break. Bernstein may have said that composers should write two minutes of music each day, but Bernstein apparently didn't have a full time job at the same time.

Click here to view the PDF.

Here it is, in its entirety. I think it's finished. I had some issues transitioning from the exposition into the recapitulation, but I think it should work okay. In the recap of the second theme at the end, I dropped it down to match the "key" of the first theme (although it's more of a "tonal center" than a key) and, in doing so, needed to make some orchestration adjustments.

Tomorrow I'll do some final clean up and call it quits on this piece.

Thirty-two. (Day 10.)

Not much done today. Changed a bit of the transition from the section ending at measure 138. Still needs some work, but at least it's something!

Click here to view the PDF.

Thirty-two. (Day 9.)

Ok, if I haven't felt productive in the past week I most likely made up for it today after a four hour stretch of composing.

Click here to view the PDF.

I think that would make the entire development. I hate to say it, but the stuff I wrote for Eleven just really seems tacked on at the end, even though I sort of set up just about everything you hear through out the entire piece and made sure the transition into it was fairly smooth. (That long pause is supposed to be a brief pause. And the oboe sounds like a cat being strangled in the last part, though I have no idea why.) I'll have to mess around with it some more and see if I can get it to fit.

PDF and mp3 are the complete thing, because I figured it would be best for you all to hear it in its entirety at this point. I feel like I just ran a marathon. Done for the day.

Thirty-two. (Day 6 through Day 8.)

Ok, a little behind on posting, but not on writing.

Day 6:

Click here to view the PDF.

This here is a means of getting into the development from the end of the exposition. Slow notes, very much like the beginning. I felt, however, it was too much like the beginning. The PDF show from measure 57 to the end. The audio clip is from measure 63 to the end.

Day 7:

Click here to view the PDF.

I decided that jumping into a slow section following the exposition would be a terrible idea, almost setting the ear up to hear slow-fast-slow-fast which can get tedious after awhile. Instead, I chose to play more on a fragment from the second theme. Audio clip is just the new bit after the exposition.

Day 8:

Click here to view the PDF.

Ok, I passed the 7 day mark but I'm determined to finish this, as long as it takes. This is the daily composer, and I'm composing daily, so that still counts in my book.

Expanding more on the newer section, working in the minor 3rd sequencing. Obviously harmony needs to be added to the last bits, but I wanted to get them down. I went through and cleaned as much as possible, fixing any doubling, unintentional octaves, etc.

The recording for Day 8 is just the new bit. PDF is the entire thing, even the slow bit at the very end (that I'm hanging on to in case I decide to use it ...)

It's coming along, more or less. Don't mind the messy scores -- I'll be going through at the end to do a major cleaning. I might spend a couple days on two measures, but once I figure out what I'm doing I can move along pretty quick. Some of it sounds/looks ugly, but once I get it cleaned up I promise it won't be so bad. You have to put the wall up before you can paint it, you know.

Thirty-two. (Day 5.)

I'm a little disappointed in myself for not having made much progress since the last post, but I needed to spend a day listening and considering, and tonight I'm just too exhausted.

Click here to view the PDF.

The development is a very important part, in my opinion. It's also one of the most terrifying, where anything can go horribly wrong. I feel I have two very strong themes and I'm afraid of using them poorly, so I'm approaching this with caution. I was ready to charge through this like a bull, but I think it best to tread carefully. My challenges are that one is a melodic theme and the other is a rhythmic theme: blending the two, or swapping their melodic/rhythmic content are two very possible means of developing, or perhaps even goals of the development, but it needs to be done right to be done well.

I made some minor changes to the transition between the first and second theme, and started a few measures on the development at the end. In short, not much changed, although I feel very comfortable with what I'm hearing and think I could make some real progress tomorrow. We'll see!

Thirty-two. (Day 4.)

I was a bit concerned about what to use as the second theme for the piece, and found that I had already written and posted something that I really dug: Three. I think it fits well -- the two themes are supposed to be of contrasting key and style. Well, nothing is more contrasting than these two themes. Also, the quick, percussive feel of Three will set up the development to eventually present Eleven. I love it when things work out well.

Click here to view the PDF.

So here is Day 4 with a slight change in measure 18 from yesterday in the oboe to help push the line a little bit. I think I incorporated the new material well, as the added voices around the theme seem to help it along.

I didn't make it into the development like I was planning. However, reaching the development makes me happy enough. This might need to carry on a little past seven days, though I'm not concerned. I'll be happy to complete a piece!

Thirty-two. (Day 3.)

At this rate I might never finish in 7 days. Regardless, here is today's work. It's 3 pages, so I'm moving it to PDF format. Ignore some obvious layout issues -- I didn't feel like spending too much time fussing around with it. Let me know if there are problems with the PDF -- I'm using CutePDF, since it's free, so there might be some conversion issues.

Click here to view the PDF.

This is, essentially, half of the exposition, ending at just about where the introduction of the second theme will be. I changed around some of the instrumentation, as I felt that the French horn's entrance in measure 9 of yesterday's post was extremely high for the dynamic marked (mp -- mezzo piano, or sort of soft). (Also, in that range the bassoon and French horn have comparable timbres, as the horn gets a tighter, more nasal sound the higher it gets. In that regard, swapping instruments was not an issue.)

The introduction ends on measure 20, and 21 starts "theme A," which you might recognize from Eleven, although slower and in a different key. The theme is passed around a bit: first on bassoon, then flute (measure 26), then French horn (measure 33). This part of the exposition ends on an A minor chord (minus the third) and an accelerando to a quicker tempo -- I'll probably change this to accommodate the introduction of "theme B," which will be new material from Eleven.

I'll hopefully finish up the exposition, transition, and begin work on the development tomorrow. This is going to be a fun piece -- I think its best in this form to use simple themes, as complex themes do not allow for a lot of variety when developing. Or at least that's my opinion.

Thirty-two. (Day 2.)

The intro.

click the image for a clearer view

This is an easy way to introduce all of the instruments and establish timbral guidelines for the exposition. Looking back at Eleven, that exact material will probably appear at the end of the development, so there is a bit of ways to go and a lot of time to develop all the ideas that it presented.

I hope to spend a little more time on this and try and knock out the exposition in its entirety tomorrow, but we'll see.

Thirty-two. (Day 1.)

I think I'll keep these all listed as "Thirty-two," while just keeping track of the days spent on it. After 7 days (or, I suppose, as long as it takes?) I'll start on Thirty-three.

I spent the time for this day mapping out the form for the piece. I'm going to go with a fairly straightforward sonata form (a scan of my "road map," as I like to do, will be attached on Monday, as I have no scanner at home). Obviously, as Eleven was for woodwind quintet, this will

Sonata form (sometimes referred to as sonata allegro) is an expanded A-B-A form. That looks sort of like this:

Exposition - Development - Recapitulation

Usually there is a type of introduction, and typically two themes are presented in the exposition, one in the tonic, then a transition to the second theme being presented in a key similar to the first (for example, if theme A is in D major, theme B might be in A major; likewise, B minor might transition to D major). The development allows some creative explorations of the two themes, and the recapitulation is usually both themes presented in the original tonic. A coda (think "outro") usually ends the piece. I used a modification of this form in my thesis, Mobius a couple years back.

I'll be sticking fairly closely to this.

Thirty-one.

For solo alto flute. (Alto flute transposes a down a fourth from what is written.)

click the image for a clearer view

It's interesting to make purposeful uses of rests. For example, your mind is probably filling in the rests in measures 6-8 with a written D, which you don't hear until measure 9. Listen to the modified sample of the beginning below where I add the Ds. This is a pretty common thing to do and an interesting experiment in how the human ear can "fill in the gaps."



And thus begins Phase III.

I took a day off, because I needed it, so don't expect double. If I use my one skip per month, I won't skip the number. Starting on Sunday, June 15th I'll be working for seven days on developing a piece based on what was started in Eleven. I'm not sure yet how I'll post the progress or how the numbering scheme will work, but we'll make it happen.

Thirty.

For solo tuba.

click the image for a clearer view

Not many solos for tuba, but it's such a versatile instrument. Huge tonal range, amazing dynamic and articulation capabilities. And what is it usually confined to? Chord roots. So here's a small solo.

Twenty-nine.

For piano. Kinda bouncy. Not exactly sure what I was getting at, but it sorta works.

click the image for a clearer view

Twenty-eight.

For oboe. A sort of reworking of Three to be used for a larger work.

click the image for a clearer view

Twenty-seven.

For brass quintet.

click the image for a clearer view

Twenty-six.

For bassoon.

click the image for a clearer view

Business stuff ...

Ok, not really business, but there's no music in this post. I'm coming close to finishing up Phase II, which consisted of 30 days of composing. While I had sort of gotten behind for a few days there all is caught up, more or less, and I plan on continuing as long as I can.

To break up the monotony, however, I was thinking of doing some little sub-projects within the overall Daily Composer, and I'd like some input on whether or not you would like to see them happen.

1. One week per month designated to a single instrument. I already worked this into the guidelines and had planned on doing it during the first 30 days, but have not yet done it. It would be good practice for me to stick with one instrument.
2. A 3- to 7-day span designated to a single piece. It's nice writing these phrases, but I feel like I need to do work towards something. The overall goal is "something," but it'd be nice to try and give myself some time to actually come up with an actual, completed work.
3. Institute a rating system. I'm trying to find an AddOn for the blog that will allow you all to rate each post. I'd like to do this for a number of reasons, but high on that list of reasons is to help choose a piece with #2 above. I generally have an idea of what I write that you like to hear, and what I write that you probably don't like, but there are some that fall into a gray area. You rate the compositions as I post them, then once a month I'll either poll you (if it's not clear) or choose the highest rated one to use towards writing an entire piece. (This will also help contribute to some research for a very, very long-term project I've had in mind.)
4. Once or twice each month have a history day. Rather than write a piece, I'll give you some history on a composer, a specific and well-known (or perhaps relatively unheard of) piece, an instrument or something else music-related. I'd like this to be educational, too. I try and share a bit about what I'm writing and the instruments I'm writing for, but if I could use a day's time to designate to some bit of history I think it would be very informative.

I'm always open to suggestions. Have an idea for something? Let me know.

Lastly, spread the word! Of course things like voting don't work if I only have a small handful of readers. Let your friends know. Families. Coworkers. Whoever. Musicians love an audience!

Twenty-five.

For English horn and vibraphone.

click the image for a clearer view

These vibraphones sound like crap. Real ones, as notated, would be played with softer mallets and with the motors on. Use of the pedal would really blur all the tones together, creating a very ethereal sound.

Real vibes are cool. Fake vibes? Not cool.

Twenty-four.

For Bb trumpet.

click the image for a clearer view

Kind of a sweetish melody, but reminds me too much of something already written. Rachmaninoff's Vocalise comes to mind, but it's not that. Regardless, I like it.

Twenty-three.

For flute.

click the image for a clearer view

I could write only for flute for the rest of my life and be a happy man. Normally I would use a short theme like this and, over time, explore all of the timbrel possibilities of the flute, but I'm keeping this short so for now you get only a taste.

Twenty-two.

A goofy little piece for xylophone and cello, played pizzicato.

click the image for a clearer view

Argh.

More problems with the hosting service ...

Twenty-one.

For flute.

click the image for a clearer view

Twenty.

This is for celesta. This is a transposing instrument, in that the celesta sounds a full octave higher than what is written.

click the image for a clearer view

I've always been a fan of this instrument, though it doesn't always get much use because of its somewhat quiet nature. In an orchestra it can be completely drowned out if the ochestration isn't carefully handled. Give a listen to Holst's The Planets in the movement titled Neptune, the Mystic for a good example of the celesta in a full orchestra, or Bartok's Music for Strings, Percussion and Celesta for its use in a smaller ensemble.

Host down ... argh.

Looks like my site where I store the images and mp3s is down.

Hopefully it's only temporary.

EDIT: Back up.

Nineteen.

For piano.

click the image for a clearer view

Basic little melody with some accompaniment. I've done a lot of melodic work so far, so I needed to do a little bit of brushing up on harmonies.

Eighteen.

For tenor trombone.

click the image for a clearer view

I like some of this ... then again, I love minor keys, so it might just be that. The trombone is such an interesting instrument, and requires an excellent player, otherwise you end up with a type of portamento between notes as they move the slide. Good players can just move the slide and nail those positions easily. Lucky for me, the computer is the best technical performer I know. Ha!

Seventeen.

For Eb Clarinet.

click the image for a clearer view

Sort of based on a melody I used for a film score I did. Although I wasn't terribly impressed with the overall finish of the film, the music I wrote for the credits was pretty spot on. I'll eventually return to that one of these days. Anyway, this rhythmic pattern (3+2+3) has been sort of jumping through my head.

Behind ...

I'm a few days behind, I know, but never fear! I will return with a vengeance this weekend.

I was to catch up last night but had some serious computer issues and, while I could have easily written by hand, was unable to just leave the computer until it was functioning again.

To make up: Wednesday, Thursday and (obviously) Friday. Will hopefully be caught up to night, but will at least do two today and the remainder tomorrow.

Sixteen.

Ok, I lied. Waiting until Saturday to catch up was a bad idea, so here is Sixteen.

click the image for a clearer view

For cello, or other low-voiced instrument.

Fifteen.

This is to make up for missing yesterday. I might be a day behind with my parents in town, but I'll catch up this weekend and do two on Saturday, if necessary.

click the image for a clearer view

Fourteen.

For Horn in F. (Remember! It's transposing!)

click the image for a clearer view

Wow. Fourteen. That's just about halfway to the end of Phase II!

I'm very much enjoying writing every day. I have to fight the urge towards complexity -- if I am too complex with my writing, I find it defeats the purpose of writing for the sake of writing. I should maybe have built into the guidelines a two- or three-day period each month where I could work on one single thing. I hate to go back and change the guidelines that I promised myself not to change, but perhaps once I complete Phase II I'll reconsider.

Writing fragments and phrases are nice, but now that I'm writing again I want to do something bigger. We'll see, I suppose.

Thirteen.

click the image for a clearer view

One more from the weekend. Transcribed for viola. I sort of like this, though my relative consistent use of harmonic minor scales is starting to make me think I need to work more on some modes or other types of scales.

Twelve.

click the image for a clearer view

Did the recording with the mellow sounds of artificial flute and two marimbas, though it could certainly be for just about anything. Although, the flute does lend itself well to that melody, I think.

The accompaniment part is sort of meandering, though in a meaningful way. I was exhausted when I wrote this (with one eye opened) so I was literally only half focused ... enough that there is a rough harmonic pattern to the marimba parts, albeit a bit hard to discern.

Eleven.

Woodwind quintet.

This feels like it would belong as a part of something much bigger, like somewhere in the middle. I like ostinato (repeated) passages, especially when they set up what seems to be a theme, that drift off into the background behind a new theme. I also love the color possibilities with this type of ensemble, though the digital rendering loses a lot of that feeling.

This one's a bit long, so hopefully it'll post okay. I couldn't think of any other way than three separate files for the score.



I'll be away this weekend, but the laptop is coming with me so I'll post what I have on Sunday night, hopefully.

Ten.

For harp.

I don't know a single harpist, but in theory it should be playable.

click the image for a clearer view

The weird lines at the top of the score represent the pedal positions. There are three pedals on the left, four on the right, representing the accidentals for notes in the following order: D C B | E F G A. A pedal all the way up changes that note to flat (all across the harp), a pedal in the center changes it to natural, and a pedal down changes it to sharp. In this case, the D B E G A lines are in the center, meaning natural. The C and F lines are below, meaning sharp. (Had any lines been above, it would have meant flat.)

So, this is essentially using D C# B | E F# G A, or a D major scale. I just wanted to try and mark out some harmonies; something about stacked 5ths (the D A E B chord in the beginning) makes me smile.

Nine.

For Bb clarinet. Terrible. Just terrible. Like trying to mash two differently shaped puzzle pieces together.

click the image for a clearer view

I'm not even sure if those sixteenth note passages are playable at that tempo.

I won't bother trying to explain or justify it. Sometimes, it's just not there.

Eight.

A very short song featuring lyrics from the poem Reflections on Ice-Breaking by Ogden Nash. (Of whom I am a huge fan; I wrote a series of madrigals based on some of his animal poetry.)

click the image for a clearer view

I don't like how it ends, but I needed to end it before I got too carried away. I can't help but laugh a little at this one, because it's really just not the right thing to do, but sometimes music needs to make you laugh a little bit, even if no one else gets the joke.

This is for piano and voice. Likely a tenor or soprano, but I'd love to see a bass singing this with a very pleasant falsetto. Any takers?

EDIT: I absolutely had to fix the ending.

Phase I complete!

Since I've succeeded in making through the past 7 days (with only one post coming a day late)* I'll be moving on to Phase II, which will last for an additional 23 days until June 10th.

This week I'll be forcing myself to correct my poor habit of writing at the very end of the day. I think having a fresher mind might not lead to some better work.

Thanks for those of you who have been keeping up. Feel free to post your comments! If you don't like it, there's a good chance that I don't like it either, so don't feel afraid to say so. The only way a composer gets better is with criticism, and without any former instruction (which still feels a bit weird) I'm sort of running through the woods with a blindfold on.

So, comment away. Here's to the next 23 days!

Seven.

Dark little solo for bassoon. (I'm lovin' the double reeds this week, apparently.)

click the image for a clearer view

I got a little lost with what to do towards the end, and wasn't sure where the clef change would fit best, despite its necessity for that part of the phrase.

So, tomorrow starts Phase III. Still need to get in the habit of doing this earlier in the day, but I'll be fine. Let's see if I can make it three more weeks!

Six.

Little ditty for violin. I'm absolutely positive my bowings are way off, but it's been a long, long time since I've written for violin and, unfortunately, I do not have one handy that I could ask very quickly. But hey, if someone's a violinist and could comment it'd be much appreciated.

click the image for a clearer view

Since UNO never had more than 1 string player at any time and since I considered myself practical in that I mostly wrote for what I had handy, I never had much of chance to write for strings. It seemed that when I did, though, they would often correct my bowings despite whatever effort I put into making them right. If I make it to Phase III, I think I'll use some string instrument for the first of the "one instrument for an entire week" guideline I set for myself. Definitely the one I need the most work on.

Five.

Making up for yesterday. Got home pretty late from the Commencement ceremony and just crashed.

This is a short melody for English Horn, probably one of my favorite instruments. It lies in this weird place between the oboe and bassoon and has this sort of haunting sound to it. (Honestly, the recording I put up doesn't do this wonderful instrument justice.)

click the image for a clearer view

In Music Inspired by the Wheel of Time, the opening theme in the first movement is played by the English horn. Follow the link if you want to hear how a real one sounds.

And, if anyone was wondering, the software I use is Finale 2006c with the Garritan Personal Orchestra for the notation and audio work, GIMP for creating the images, and RazorLAME for converting to mp3s.

Clean up.

Ok, swapped out all the older PNG files for JPGs.

Also added the little embedded player to last night's piece. What do you think? Keep it, or toss it?

Four.

Ok, this may have been a bit much for me, seeing as how out of practice I feel, but what the heck. French horn trio. I was trying to do a short fanfare, then got tired very quickly and the whole thing just seemed to slow down a bit.

click the image for a clearer view

For those of you who try playing this on some instrument and notice the pitches don't match up, remember that the French horn is a transposing instrument. This is written for a horn in F: in a sense, a written "C" is a sounding "F." (One of these days I'll explain some reasons for transposing instruments ... just not today.)

Three.

Note to self: save your file before accidentally hitting the power chord. Ha!

click the image for a clearer view

I love quick little rapid passages like this. It's almost treating the instrument more like a rhythmic instrument than melodic.

Not much to say, really, other than I'm glad I've made it three days ... but I need to do this when I get home from work, rather than before I go to bed. Or early in the morning. Hopefully I'll settle into a rhythm at some point.

Two.

For your viewing and listening enjoyment ... just barely into what would technically be day 3, but it took me some time to get the image file and sound file created. I really need to figure out a better way of doing this, as the PNG files have always been my least favorite format for images.

click the image for a clearer view

I kind of like this one. Playing with more of a focus on intervals and creating tension following some consonant sounds. I'd like to revisit this one once the project is over. Flutes sound wonderful in general so I think this would make a nice duet. It could use further development -- both parts stay within a relatively close range, and it doesn't due the instrument justice considering its flexibility.

One.

Well, I never promised works of art for this project, so if that's what you have come for you can turn away. Here is what will hopefully be the first of many.

click the image for a clearer view

Those of you with rudimentary music theory knowledge might pick up on the decidedly "minor" sound of the phrase, though I was making an (small and failed) effort to really avoid a tonal center. The last couple measures, though, seem completely out of place but could work if the phrase were expanded some. What's done is done, though.

Feels good to be writing music again. Sort of like when you hold your breath for awhile and then suddenly gulp down a lot of air. Head rush.

Creative Commons

All compositions and text published on these pages will be licensed under Creative Commons Attribution-Share Alike License. More information regarding this license can be found at the Creative Commons website.

Updated Guidelines

Updated guidelines. Changes in italics:

• Minimum of 12 measures;
• Fragments or phrases allowed: no piece needs to stand on its own;
• If a day is missed, it must be made up the following day or as soon as possible;
  
• Once Phase III begins, the first full week of every month (Sun-Sat, 7 days) will be dedicated to one single instrument (schedule will follow);
  
• Multiple compositions on one day will not count as a "bank" for following days;
• One "skip" per month will be allowed, because life can get a little nutty;
• After May 12th no changes will be made to these guidelines;
  
• Scores will be posted; and
  
• If possible, real recordings or digital renderings will be posted.

There may be some more updates to the guidelines before May 12th, and I know it seems goofy, but once I get started I want to make sure that I have very strict rules to go by.

I've gotten a lot of positive feedback on the project and I'm very anxious to get started. I've had more than a couple people who seemed interested in started some sort of 365-day project of their own. If you do start something and keep a public record of it (blog, LJ, etc.) let me know and I'll post the link!

Coming soon ...

For those of you who might not know me, I graduated in '06 with my master's degree in music composition from the University of New Orleans. Since then, I've been working as an administrative assistant at UNO and as a part-time student in the master's program in public administration, while occasionally teaching evenings as an adjunct for UNO's Department of Music.

I have found myself with so little time that it is becoming increasingly hard to get myself started on any composition projects. This is somewhat troublesome to me, as I find my overall mood dependent upon my creative output ... which has been next to none. Sure, I've worked on some small film scores, but nothing serious. As I would like to continue on with doctoral studies in composition once the MPA is completed, it is important for me (both professionally and personally) to continue to compose.

So, I present to you The Daily Composer, starting on May 12th. In line with the ever-popular meme "365," where people post one photograph they take every day, I'll be writing one composition per day.

My guidelines/goals are as follows:

• Minimum of 12 measures;
• Fragments or phrases allowed: no piece needs to stand on its own;
• If a day is missed, it must be made up the following day or as soon as possible;
  
• Scores will be posted; and
• If possible, real recordings or digital renderings will be posted.

I am notorious for being overly-optimistic, but I feel that these are realistic goals. I suspect some days I will be able to produce more than 12 measures, but anything less than that would likely not be useful. As stated, these pieces do not need to "stand on their own" as I hope to produce material that, once the project is complete, could be developed into larger-scaled works.

I'll be running the experiment in three phases:

• Phase I: 7 days
• Phase II: 30 days (inclusive of Phase I)
  
• Phase III: 365 days (inclusive of Phases I and II)
  

So, see you on May 12th.