Sight-singing, Christo-Salvaides-style, with our walking-challenged (witness the temporary crutches) composer-presenter having the Theoreticians divided (from right to left above and below) into Soprano, Alto,
Tenor, and Bass sections. A good time is had by all, and also in Jorge del Castillo's syncopated dication, and William Jennings's
board harmony, where, somehow the professor is iconically crocollianly devored (keyboard-style, backbeat harmonization is sanctioned, however, up until the lamentably not-noticed-at-the-time parallelism of measures 7-8). Note the crocodile eyes, somewhat reminiscent of Pablo Picasso or, perhaps more remotely, Henri Rousseau -- neither of whom seemed to have reptillianly rendered same, so works attributed to the
Mughal artist
Miskin
will have to suffice.
Marathon session of keyboard-solfege quiz work thereafter, followed by late lunch grading Theory papers at La Pinata and
returning to the DVC Lab to compose a fourth page of Vespers: IX. Audi Coelum (Part 2) (a third was composed in the morning, as well as 13 orchestrated for The Creation: IV) then recording the complete version of
Vespers:
VIII. Nisi Dominus and
IX. Audi Coelum-Part I
plus the beginning of
Part II.
The home trip is in the halflight of Martinez,
the Port Costa Hills, Carquinez Strait, and
Sulfur Springs Mountains to write three more pages of Audi Coelum - Part II, beginning a second section utilizing an A Whole-Tone/Mixolydian Scale of A B C# D# E# F# G A.
