I am ending 2022 with the first major MusicBox for 2023, Wildfire. Here is the YouTube version of this 1975 release sung by Michael Martin Murphy:
I carefully chose the melody I may will spend a month completing. The decision to paint Wildfire began with, despite not being a favorite, I have consistently liked the music. What held this song back over the years were the lyrics about a lost horse. Although I understand others’ connection to horses, I never achieve a fluid feeling when riding them. Basically, I was a team player, hanging on for dear life, hoping the leader would not giddy-up. What helped this choice of music was a different understanding of its lyrics after reading the YouTube comments. What closed the deal to paint is its exceptional opening piano, the accompanying sound of a flute, and my past confidence working with these instruments. Also, this music’s chorus would easily fit my six-foot length goal, my mood and my current skill level in creating cover music.
Image One shows the constructed music for this project.
Going Deeper:
After deciding on a song for a music box, my current routine is to compose a draft of my cover music. I then chose what the artwork part will be sampling. The actual putting together of the music box begins with the choice of a support for the artwork. With Wildfire, I have flipped around the process. I have built and painted my notes first, giving little concern for their attachment to the artwork. I went from fitting the length of all the musical pieces to a support, to constructing the music and only then figuring out what the background will be for the music. But there is a problem. I should have known better.
The background support is more complicated than creating the music. Cutting out the music from the wood is time consuming, but predictable, requiring supplies that are easily available locally. With my current music boxes using stretched canvases (to bring down my large extra inventory) not all sizes do I now have, or are available locally. That means, for example, if I need to order a canvas for the background or seek a solution to a construction issue, that could cause a delay in progress. Since I only work on one project at a time, timing my work schedule is important. That is a major reason, along with the challenge of design and preparing the background, that it is prudent that I design the background early in the project. That is what I am going to return to for next project and beyond.
First background image on Sunday.
Second background image on Monday.
Although not overly happy, this is what I am going with on Tuesday. This look does not break any new ground. The length of about 60 inches is also smaller than I would like. For the music choice I choose only the short chorus to sample, which meant a lower number of notes, lessoning the artworks length. Knowing that I should have cut larger size notes, for example, 3 inches or more. Those sizes would have required greater space and a longer background. But I did not. I started this project by staying with my trend, which is 2 3/4 sized notes. What disappoints me about these choices is how successful my music box music turned out. This is the first time the cover music (which is still seen as a final draft) feels more innovative than the artwork. Also, the look of a six-foot artwork would have made the music even stronger. But I did not. Because of copyright issues, here are 30 seconds of the cover of Wildfire.
Wildfire draft music middle 30 second cut.
[UPDATE]
After reading over this blog entry I grabbed two 11×14 inch canvases. I will make these the speaker boxes. The length of this project is now 70 inches. Just what I wanted.
Sound of Silence is an artwork from early 2016 that I have decided to turn in a music box.
YouTube video discussion of the upgrade of 2016 artwork Sound of Silence.The chaos of studio work building the speaker boxes and stereo mounting platform.
Going Deeper:
In the video on this 2016 work I spoke about the upgrade. My reasoning for the change is based on my limited experience with upscale galleries like Gallery 1802 in La Crosse. The gallery owner Mark limited his request to three works when he realized how large they were. My concern after hanging was how much wall space those three works filled, compared to everything else in the gallery. That lead me to decide to offer galleries a few larger works, but more options for smaller works.
My smaller works are, in most eyes, would still be considered rather large. They are because that is the style trend of this art now finishing its 16th year. In the last half-dozen years I have created many small works, even some with music, but their reception by the public has been no different from my normal larger works. Recently that has been made more complicated by my improving cover music skills consuming days of studio time. That added cost of playable music means smaller works (under 4 feet) do not allow me a reasonable price differential from larger works.
I price larger works conservatively from 3000 to 6000. This is to be within the pricing averages of smaller galleries. Small artworks three feet and under would then priced near 2000 to give me a return. All the pricing is done with a minor consideration of the cost to the gallery. That expense will run from 30 to closer to 50 percent of the sale. My pricing tier reasoning comes from being an unknown unknown artist, working within the “it” reality of small market art. This art is less about the monies than creating something different and respect. Although covering the cost of art supplies would be nice.
A lot of work goes into creating these music boxes, including this little work I finished on the November 10th. I have a start date for the cover music of October 9th.
Summary of Flight from the City:
I am calling this a minor work, for its length is under six feet. That category became obvious when, after getting up off my computer chair, I had to look around for the artwork, finding it upright in its stands. The work itself is under 24 inches in height, so for a moment, I guess I truly overlooked it.
I like my cover arrangement. I removed all the reverb from the piano and increase it on all the special effects, which was the improvement I needed to make to call this music good-to-go. My music arrangements have little to do with creating the perfect cover. The end quality of my arrangement is limited to getting the most delightful sound for the hours spent in its development. When I reach, “that sounds good enough,” through my desktop Bose speakers, that is when I stop making big changes. I then install the music on the artwork’s stereo system. I listen and decide what needs to be updated. The music is then returned it to my desktop software. Once adjusted, it is reinstalled, tested, and if needed, again uninstalled to be finely tuned again, and again, until the Music Box sounds reaches as good as it can get, for now.
.
Here is my summary YouTube Video of Flight From the City:
A snippet of the music from the music box Flight from the City, arrangement and cover music by the artist.
___________________________
The Tribute poem to my Brother is now completed.
____________________________
Roger’s poem
The sun in winter
is all too short.
Who knew as you move through our lives,
that yours would follow the winter sun.
Winter arrests time
for thought and reflection
that February afternoon.
Dressed for warmth
we venture out,
Into the soft light,
surrounded by stillness,
not an oak leaf stirring.
The cold of that yesterday
is heard in the crackling crunch
of fresh fallen snow,
as I straddled previous steps
along a well-worn path,
deep into the woods.
Although I think
we are alone,
Zelda knows better,
her actions are telling.
Life and the deer are about.
Stopping with her tail up,
head sharply flipping,
to-and-fro sensing something_,
curious,
I also pause,
feeling a stirring in the air.
With her nose to the snow,
Zelda looks to turn off the known path,
to explore another trail,
far less traveled.
Her interest, I cannot foresee,
or know where it leads.
Before I can call her back
to the safe way forward,
Winter freezes my momentum,
with a stinging breeze
across my cheeks,
breaking the silence,
awakening concerns.
Had I dressed warm enough?
I feel and pat
my coat,
all was there.
Then it came to me,
that it was not the cold,
but the wind, returning to me
moments once set
quietly away.
I wondered why on a
cold Winter’s Day
on this made-up path,
at this crossroad
in these common woods,
this walk halted,
by an unforeseen breeze
sending a shiver
tumbling inside,
then out into the light.
Why over all my many memories,
did I find this one exposed
from beneath Winter’s blanket_,
a consciousness,
an awareness,
that once_,
was you?
But time was fleeting.
I had let pass
the diminishing forest light
and our late start.
Fearing the coming darkness
will hide this path,
I call Zelda back
to the safe way home.
For Home is where we want to be.
What choice have I,
but to be on our way.
We had to turn back,
for time does not.
I could only turn away.
Those moments have passed
this another Winter’s Day,
although the cold
is harder to ignore,
our routine beckons.
Although she cares less,
I dressed Zelda in a purple coat
and I in my heaviest hooded jacket,
thankful that each new walk
the sun grows nearer,
and longer,
and the return less concerning.
Along the way
Zelda repeats her many stops,
on our well-walked path.
And for a distance
all seems as it should,
until the quiet is interrupted
by a strong gust
pressing against my coat,
pausing our step.
I feel this air’s warmth,
as I look to see Zelda stopped ahead,
her ears pushed back
by the wind, standing at that
barely a crossroad
from yesterday.
Her brown nose twitching
in this comforting air.
Although surprised
to see her at this divide,
I have a smile of déjà vu,
brought-to-mind
by a long-ago line,
from a well-used book of poetry
now gathering dust,
from the poet Robert Frost__,
“Two roads diverged in a wood…”
Two roads,
diverged,
in a wood.
However,
that is all I recalled.
With a sigh and interest
I pursue
this other trail upwards,
to see it following
the rush of rolling clouds,
knowing soon these winter paths
will turn to mud,
preventing our return,
until the frozen has left.
Thus beginning the awakening,
ending Winter’s parsing of time,
with days merging all too quickly.
We will lose ourselves
to work to be done,
and unforeseen tasks,
demands and bills to pay,
that surely will come.
Though today
Winter still decides,
in the fast blanketing
approach of low clouds
bursting with snow
and ice pellets,
pirouetting down to us,
if in an effort
to hide our way,
on this favored path.
But wait!
Where is Zelda?
I see her brown eyes turned away
as she slow trots
along the untrampled path.
Concerned I call her back
when from behind
I am shoved stepping forward,
by a distant hum
that becomes a gusting woosh,
shaking the treetops,
that then fads slowly
to a murmuring sound,
all so astonishingly familiar,
awakening a time
thought placed away_,
when I held your hand,
my eyes focus on your whispered breath,
not knowing what would be your last_.
Until now.
For Winter’s calmness has returned.
And I am hearing only
my own breathing.
And although I know
that this air we can no longer share,
as if to awaken
Winter’s silence,
I inhale deeply in,
then out that which gives me life,
in a last hope,
it may find you,
and I may again
hear a whisper of you_,
still here.
But that time and faith
has passed by me,
leaving now only the understanding,
that I was meant to be
a part of your irreplaceable story,
a witness to your bravest
moment of unselfish courage,
that enveloped everyone
in the room not of your choice,
that became your
last unforeseen loving gift__,
the fearlessness of letting go__.
That it was alright__,
to let go.
I see that now,
what other choice have I,
other than to love you_,
and so I,
let your hand,
fall away,
from mine.
But that moment too has passed by me,
and I am here,
in this Winter woods,
at this crossroad,
without you
questioning our way Home.
For Home is where I want to be.
And Home is where you are no longer.
What choice have I
other than to let you go,
knowing each breath I take
you will still be with me
long after Winter has passed.
And although our paths will meet again
I now understand they no longer cross.
Is that not your message?
Where you not here to tell me that
In this Wintertime?
Is that not the reason Zelda and I
are on this path,
In these Winter woods,
at this crossroad,
I now remembering,
now reciting the words from a long-forgotten poem,
whose true meaning
I thought I knew,
but you have taught me differently
in these winds of Winter,
teaching as you have always done,
offering us another way,
Home, through the verse of a poem___.
“I shall be telling this with a sigh
Somewhere ages and ages hence:
“Two roads diverged in a wood, and I_”
No!_ my irreplaceable one_ we each
“..took the one less traveled by__,
And that has made all the difference.”
Scott Von Holzen