CalArts Brass and the Pursuit of What’s Missing

Honestly, performers can have a really hard time choosing grad schools.

I say that as a composer and composer-performer who’s always had way too many things to think about when it came to school choices. During my undergrad auditions, I managed to piss off an interviewer at a school that will remain unnamed because I insisted on continuing to play my instrument as I continued my composing. (They didn’t accept me. This was not a surprise.) Yet as I’m starting to look toward the final semester of my MFA, it stymies me that so many teachers request or insist that their students focus on one thing and one thing only. I was incredibly lucky at Arizona State to have not one but four composition teachers who supported my performative endeavors, and that streak has continued at CalArts. But as my performance-major friends look at grad schools and doctoral programs, often they’re only focused on one thing: the teacher.

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We Don’t Report

My brothers and sisters and siblings and I, we have been violated. We have been attacked and groped and touched intentionally and carelessly and recklessly. Our attackers may know what they did to us; all the same, they may have forgotten entirely, relegated us and our pain to the insignificant past. We have been hurt beyond all telling. And we don’t report.

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Commission Season: I’m Looking for Collaborators!

As we move into the fall semester (or quarter, if you’re weird like that), I’m happy to announce I’m accepting commissions for Fall 2018 and Spring 2019. I’ve had a fantastic time working with individuals and groups this year, including the Spring View Middle School Jazz Band, Failsafe Duo, Willis Dotson, John Pisaro and Ian Stahl, and Oakwood Brass. That said, something I’ve come to realize is a lot of my friends, peers, and colleagues are interested in commissioning new works but don’t necessarily know how to approach the process. I can’t and won’t speak for all composers, but these are the most important things to know if you’re interested in working with me.

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A Manifesto? (otherwise known as An Intro to My Creative Practice)

Hello, friends! I hope this finds you well.

I’ve spent much of the past week reflecting on my experiences at the Rafael Méndez Brass Institute and getting back into the daily grind. I had such a great time getting to know everyone at RMBI, but it’s dawned on me that as someone who actively identifies as both a composer and a performer, I don’t talk as coherently about my creative practice as many of my new friends do. To be completely honest, I’m a little envious—from the outside looking in, it seems nice to be able to start by saying “I do this” and then getting more specific instead of explaining that you do two or three or five different things and having to elaborate on each one. I’ve also realized that I haven’t at any point sat down and written out how I describe and view my own work. (Grad school application essays don’t count.)

Generally, I dismiss myself pretty quickly. I tell people that I try to marry traditional technique and tonality with experimental idioms, and that’s true. Making weird things accessible to audiences regardless of their musical background is and always will be a priority. Even still, there’s so much more to my writing and performing than “it sounds a little weird but also sort of normal.” There are facets of my creativity I haven’t talked about very much. So this post has two objectives: to introduce myself a little more thoroughly to my friends (new and old, musicians and non-musicians) and help define for myself how I frame my creative practice.

Continue reading A Manifesto? (otherwise known as An Intro to My Creative Practice)

A CalArts Year in Review: Part Two

Over the past year, CalArts has allowed me to learn at my own pace while providing countless opportunities I wouldn’t get elsewhere. That said, it’s not all sunshine and rainbows. Like every school, CalArts has serious downsides it needs to address. I can’t speak as much to programs and events outside the music school, but even within HASOM (the Herb Alpert School of Music), there are significant issues that require more management than students or faculty are capable of providing individually. And sometimes, the administration’s what’s causing the problems. So buckle in, everyone. This one’s long.

♦♦♦

Let’s start with my favorite part of every school: the Title IX office.

Continue reading A CalArts Year in Review: Part Two

April Performances (and other adventures)

Friends,

What a month it’s turned into! April is shaping up to be action-packed in more ways than one. Because I’m about to plunge into a bunch of different performances, I thought I’d take a moment to highlight a few of them here:

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March Favorites are here!

Like every YouTuber ever, I’ve decided to start a monthly favorites segment. Ultimately, my goal is to highlight music, creatives, and moments I enjoy. If anything catches your attention, don’t keep quiet!

March has been an absolutely insane month. I had the privilege of playing on three recitals (including my own), joining ensembles on various other concerts, clearing a couple commissions off my plate, and preparing for premieres of new works. That said, this is what’s caught my eye and ear:

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Welcome to the (Electronic) Jungle

Happy Spring Break!

I’ve been taking this week to explore places I’ve never been before, prep for my senior recital, and generally just relax before the hailstorm of midterms and rehearsals I’ll be thrown into once we’re back in school. In all the craziness of last week, I forgot to mention that I’ve begun posting recordings of my first experiments with electronic music and sound art. Here’s a brief rundown on each one, along with links to other places where you can learn more about them:

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