Track Art – Enneagram and Encaustic

Fairy Child, revisited

The original faded with age, so I repurposed it.

Rosings

The latest track for Argent is now live at bandcamp.

I recorded this song very differently. Musescore, the composing software I use, will playback the song. Instead of just writing melody and chords, this time I notated an orchestral score. What you hear is the computer playing the sheet music, and a vocal track I laid over. I feel like my experience with notation, reading and writing, might be my greatest strength as a musician. (Since I’m so very amateur at guitar, lol.) Anyway, here’s the simplified music. The orchestral score is an immense file, so I won’t post it.

you
If you were my bell
If you were my well
but you’re you

A voice like clear water
a face like a star
my tongue turns to butter
whenever you are
you

you
If you were my clerk
If you were my park
but you’re you

you
why can’t I talk to

you
If you were my lake
If you were my fate
but you’re you

A voice like clear water
a face like a star
my tongue turns to butter
whenever you are
you

Get Lucky

New song available for Ardent at bandcamp. From Elizabeth’s perspective, Charlotte is foolish for accepting Mr. Collins’ proposal. For Charlotte, though, it’s a lucky opportunity.

Oops! I originally called this song “The Scheme” because that’s how Charlotte thinks of her encouragement of Mr. Collins. The song itself suggested another title, though, and “Get Lucky” is the official and proper name.

Paint It Red

Track Three is now available at bandcamp.

Burning again

I was never quite satisfied with the track art for the song “Burning” on Heart of Iron. Uploaded to bandcamp is this new encaustic piece, based on Robert Salmon’s 1828 painting Ship in Storm.

The original post introducing the first attempt at “Burning” track art is here. You can see why I was dissatisfied. Visually and thematically murky!

However, the funny part is this:

If you look closely you’ll see that the poinsettia piece is actually the original “Burning” art slightly smoothed and fused, and then repurposed as a background. Although I work on wallboard, which is inexpensive, the layers of wax and the build-up of color over days of painting are precious. It’s nice to get a second life out of something that became disappointing.

In Danger

I believe —
Will she dance with me?

I believe —
The line of her neck as she reads ‘cross the room
… honey won’t taste as sweet.

I believe —
Does she tease me?

I believe —
The form of her hand in her glove as she waves
… I’m alive in the heat.

I believe,
were
it not for her
inferior
mother,
I’d be in danger.

Second song from the ongoing Ardent album now live at bandcamp.

Her Wit Flowed Long

Last week I published a new album at bandcamp, Ardent. More songs are coming (the second is in final recording), but for now here is the art for the first track.

And here is the one-sheet music:

Ardent

I’ve dropped a new album (so far with only one track). Based on Pride and Prejudice, the concept is for each track to be a moment from the novel. The next track is being recorded now!

Tiny Tim’s Song

Listen at bandcamp. I did apply a saturation filter to this photo. Encaustic can be so difficult to capture the color and texture.

*1 When* the bakers start their fires
and the stuffed goose casts its lure
and the baskets full of chestnuts loll
like gentlemen at doors,

We thank our gracious Father
for the feast laid at our feet
and all the meat and fish and fruit
He’s given us to eat.

*2 When* the girls dance round in furs
and the sharp men doff their hats
and the lamplighters tap fire to wick
like mischievous black cats,

We thank our gracious Father
for our friends and family
and all the health and wealth and love
which makes us so happy.

*3 When* the church bells toll their call
and the people gather in
and the Bible tells of sinners whom
the Good Lord has forgiv’n,

We thank our gracious Father
for His Son whom Mary bore
and all the blind and deaf and lame
that Jesus may restore.

*4 When* the dead man fades to dust
and the spade turns up his bones
and the mourners in black armbands face
the rest of life alone,

We thank our gracious Father
for the angels bending near
to bring our lost and lonely prayers
to God’s eternal ear.

*5 When* the boys give glad noel
and the snow drifts on the air
and the mothers in the workhouse sing
to babies who aren’t there,

We thank our gracious Father
for the stable and the star
that hope in dark and troubled times
may beckon from afar.

Desert Lullaby

12″ x 12″ on prepared board, based on an original commissioned painting by Jahn Breeze.

A period Western, Fort Defiance is a screenplay that no longer exists.

Written in the 90s, it was shopped to actors’ agents and production companies, generated interest, and then failed to move forward. Over the years I’ve tinkered with it, trying to bring new life into a project that came oh-so-close.

Here’s what I want to say about my personal white elephant: She was a good piece of work. Since creating Fort Defiance I’ve become a better writer, and I have the skills to make this a better script . . . but it’s not possible. Any project is of a time and place. Who I was, how I thought, what the world and society considered taboo, can’t be revisited. Let the project go. This is my farewell to a lifelong story.

Recording this song reiterated that lesson. On my album Heart of Iron I had an experienced instrumentalist and recording partner. All I had to do was sing. This time, although I’ve been blessed once again with an excellent sound engineer, I had to wear every musical hat and my expertise is paltry. I wish I could present a smoother version of Desert Lullaby, but the most important thing is to get it out now, while it’s of the moment. I will get better, and the pressure of publication is part of that improvement process.

Listen to Desert Lullaby at bandcamp.