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Tired from PEAC Week but was able to keep morning practice plan. Feeling fairly motivated but not for anything in particular. I let myself bounce between interests over the course of practice. Sort-of wanted to stop at 1.5-hour mark but found something to keep me engaged (byo scrapes with mallet handles).
I was disappointed to learn that Yuta, Joe, and Isaku will be away during CicLAvia this year for a gig of their own. I can't help but worry that ATUS/LATI won't ever provide sufficient artistic opportunities for me and that someday I'll need to change things somehow.
Recent, rewarding artistic opportunities (% thanks to ATUS/LATI)
- 2015 Maui (100)
- 2015 CicLAvia @ JANM (20)
- 2016 CIcLAvia w/ Kotobukijishi (50)
- 2017 Grand Annex (40)
- 2017 Galileo (20)
- upcoming gig w Julia and Yuta (100)
- ongoing SugAmen (100)
And for my part, maybe taking July off from composition was a mistake. If I had heard the CicLAvia news after having made progress on my work, I wouldn't feel so disappointed. Alas.
The mistake is easily remedied, however, by figuring out how to write during the next two months while teaching. I should also talk to my mom about helping me with the fundraising side of things if and when she moves to Torrance.
Naname choreo to tracks. Felt fairly inspired and was able to do big-movement improv, but still unsure about the most important arrangement aspects: how to get into and out of the movements in a way that feels natural?
mallet and brush practice on naname
Started to do nidan and wasn't really feeling it... got quickly sucked over to naname rhythm practice. Had fun building taiko-taiko strikes to a pause, followed by "dogo" and really fast 16ths back to de/da improv.
More brushes practice. Really liked R-byo scrapes and L-brush-traditional-grip. The back side of the brush is perfect for byo. This "zone" could really be useful for comping. Needs a name... "Penya"
Had fun with mallet handles on byo too, trying to play precise scrapes simultaneously with both hands and using position on mallet to change tones.