Inside A Tune: Arundel

IMG_20170508_175742

See One, Do One, Teach One – the debut album from Deep Tide Quartet – comes out on Discus on August 1st and we’re playing at the Verdict in Brighton tonight. I absolutely love being part of this band and Arundel is one of the pieces I wrote for the album…

Arundel is a piece of music based on the idea of gaps. It was the result of a kind of triangle of inspiration; Phillipe Sands’ book East West Street, the work of Anne Truitt & a discussion I had during psychotherapy about the reason for nightmares & dreaming.

The title of the piece comes from a series of Anne Truitt paintings of the same name. A major theme in her work, both on canvas and through sculpture, is the use of straight lines and blocks of solid colour. I was drawn to her work because I find it soothing; there’s something settling and calming that makes me want to be in their presence. In her journal, Daybook, Truitt recounts a conversation she had about conveying meaning and intent in art forms without words. She asked – what if someone who spoke no English and knew nothing about you came to view one of your exhibitions. The descriptions hung next to the works would be of no use; what would you expect that person to get out of work?

I replied that I did not expect, I hope. What I hoped was that something in their experience would, in some unpredictable way, rise to meet the work. We then agreed that, faced with the fascinating problem of translating what we know with the just accessible parts of ourselves into the available physical terms, we simply do our best, leaving all result aside.

 That phrase, ‘rise to meet the work’ struck me. It felt as if I was reading someone far more eloquent than I put words to my thoughts about composing music for improvising musicians – with the music I write, I hope that something within the musicians rise to meet the work and create something far beyond the written (or drawn) material.

Around the time of the recording session (which took place at the beautiful Chairworks Studios back in May), I was reading Philippe Sands’ East West Street. This non-fiction book recounts the events that led to the inclusion of the terms ‘crimes against humanity’ and ‘genocide’ in the Nuremberg Trials and the stories of the two lawyers who created them – Hersch Lauterpacht and Rafael Lemkin. Sands references a Nicolas Abrahams quote –

What haunts are not the dead, but the gaps left within us by the secrets of others.

My therapist had a really good way to describe the function of dreams, especially when related to PTSD. When a trauma occurs, she said, it is so different from all your other experiences and memories up until that point that your brain doesn’t know where to file it. Furthermore, the details of the traumatic experience are too difficult to process so it remains an incomplete file as it were. It can’t be stored until it’s complete so the brain attempts to fill in the gaps with guesses and imaginings and dreams are the result.

Here is a little extract from my journal on 3rd May 2017.

I have come to realise that to ignore a gap simply increases it power. The darkness grows and seeps into other parts of the mind. So, one must acknowledge the gap and endeavour to fill it, which can often be done, or accept that it cannot be filled, which is sometimes inevitable. By filling it or accepting it, you remove its power. Either shine a light in the hole to confirm that no monster lurks there, or else build a bridge so you can walk safely across.

SO.

Arundel is the product of all of these thoughts. The score is contains 11 blocks, made up of black and white sections. Players read down from the 1st to the 11th in order. They are provided with the score, the Nicolas Abrahams quote and the instruction that each block is a combination of gaps and non-gaps. How that is interpreted is up to them.

LINK DUMP

Phillipe Sands – East West Street

Anne Truitt’s sculptures & paintings

Chairworks Studios, Castleford

See One, Do One, Teach One – Deep Tide Quartet (Discus Music Website)

The Verdict, Brighton

 

Sundays suck (& my thoughts on nurturing creativity)…

IMG_20170630_171257_647

Sunday afternoon. I have already hated Sundays, something inherited from my family. In fact, it’s a strong opinion in Scotland, to hate Sundays. A Calvinist overhang perhaps…? Being freelance, one’s relationship with the days of the week all but disappears but Sunday has a special, gross vibe to it. I have two things I really should be doing – booking flights and editing video footage. But I can’t…Too boring.

***I’m currently listening to an album called Tongue In Groove – Joey Baron, Ellery Eskelin & Steve Swell. I’ve never heard it before. IT IS AMAZING***

One of my priorities is how mental well-being affects creativity. When I was ill earlier this year (I had PTSD, it was rough), my creativity took a back seat. Now that I’m back and it’s back, I’m much more aware of it. In fact, I think of it now as a plant or a creature, a living thing that needs attention and nourishment every day. On a day-to-day level, this means –

  • Guided meditation when I wake up and before I start to play
  • Reading
  • Reflection – usually in the form of a written journal

For my guided meditations, I use a great app called Headspace. I usually do a general, 3-5 minute session as soon I get up then use one focused on creativity for 10-20 minutes before I start playing. For me it’s a way to ensure that the day starts well and doing it before practice works wonders for breathing and for focus. I also do unguided meditation, at least once a day. I didn’t even think of this as meditation initially; it was borne out of a need for stillness and calm which I realised was a priority while I was in therapy. I dubbed it ‘sitting nicely’. So I like to sit nicely for a couple of minutes each day, just finding my centre.

I’m a BIG reader. Reading for me feels like the coal I use to stoke the fire; it’s the input I need in order to say anything artistically. Right now, I’m reading a collection of short stories called Oblivion by the extraordinary David Foster Wallace.

A big part of trauma psychotherapy is the process of reliving a trauma. Once it’s done verbally with a therapist, you write it down and read it each day; a process called ‘flooding’. As I’m sure one can imagine, this isn’t a very pleasant process but it does teach you how to write well, how to build narrative. So I figured it was a waste of that skill to only write about horrendous things and started a journal. It’s become a lifeline, a wonderful daily activity to reflect and grow. It was inspired also by sculptor and beautiful diarist Anne Truitt, whose journal Daybook is a must for any artist, or woman, or human being.

LINK DUMP

Tongue In Groove – Joey Baron, Ellery Eskelin & Steve Swell

Oblivion – David Foster Wallace

Daybook – Anne Truitt

Headspace meditation app