Weeknotes: August 18–22, 2025
In my dream I'm a volunteer on a space station. I can't believe I got to go to space for free — I'll be the envy of all my friends. I move to one of the thick glass portholes and look out at the dark expanse. As my eyes adjust I see a large object resembling a human skull, obsidian black and tinted purple and green like the aurora. It's heading toward us and I immediately sense it's an alien spacecraft. I back away from the window and about a minute later feel the impact as it collides with us.
The next part of the dream is more benevolent, though bittersweet. I'm back on earth, trying to insert a folded wool blanket into a cupboard. My cat Briggs is in there, alive and seemingly in full health, though I somehow know there is a terminal illness within him. I pull him out and try to hold him, but he's not having it. Classic grumpy Briggs. While he lays on the rug cleaning himself, I marvel at his appearance. It's the younger, well-fed Briggs of feline middle age, not the haggard cat of his final days.
I wake with a co-mingling of fear and wistfulness. An alien encounter and a visit from my late cat. What a way to start the week.
Weeknotes: February 17–20, 2025
Monday February 17
Composing for hire remains a novel pursuit for me. I enjoy the challenge, but do it so rarely that I have to fight against my deep-rooted tendencies. I tend to overcomplicate things. Even when I'm writing instrumental music, I'm thinking about the overall structure and pacing of the arrangement, treating it more like a song than the mood-setting backdrop it sometimes needs to be. This piece I'm currently working on should flow unobtrusively behind a voice-over, but I'm struggling to keep it simple.
Repetition with very subtle dynamic shifts is what's called for, but I keep inserting rests, a bridge, and dynamic dips and swells. The first version I submitted had all those things and when I watched the rough cut, I was a little embarrassed; the piece itself is nice, but the extra parts felt obtrusive and showy. I then tried a version with a shorter rest and truncated bridge and it played a little better on the fine cut, but still wasn't right.
This morning I spend a couple hours on an edit that removes all chord changes outside the primary loop, but still has a sort of "bridge" moment about two-thirds of the way through. Why don’t I have it in me to kill that bridge? It’s not a pop song.
