Serialism and guitar techniques
In my string of writer’s block, which I think is less writer’s block and more of I’m taking my time to make sure this is the best work I can put out, I stumbled across a musician and composer by the name of Wilson Gomes. My mind was a little bit blown.
His serial jazz guitar is exactly the inspiration I needed–whether or not I’ll use anything jazz/serial is the not the point. Rather, I needed to see and hear more serial music that I can find bearable. There are plenty of serial pieces out there, and I appreciate them all, because the good ones will always move me intellectually, but the bigger challenge is to write/find one that moves your body/soul too. This is what Wilson Gomes’ music does. Is it because it’s so close to a jazz home with notation? Is it the timbre of the guitar? I am not entirely sure what the active piece is that makes it so awesome for me. I can’t decide if I should morph my serial section into a jazz-esque style. That would be interesting if I could do it justice–bluegrass setup playing serial jazz: ya, I know, that’s way out there. But it sounds very intriguing.
I’ve also decided to add my lap guitar piece Jinjer into this piece. I think that once I get to the 3rd movement, perhaps I can begin with that, and develop it somehow, and perhaps round up bits and pieces from the first two movements. I’m not sure how I want to do it, but I’m going to. That way, I can satisfy my cravings for performing Jinjer now as an excerpt from A Man’s Will to a Woman, despite the fact that it isn’t written in it’s entirety yet.
I can’t express how excited I am for the holiday break from school to be here. Now I can just write, write, write, and play, play, play. I think I’ll travel to different local places I haven’t been too often, and spend time writing there–see if I can’t find a motivating place.