I knew that March was going to be crunch time. The past few days I’ve been composing between 5 and 8 hours a day. Still, this week and all month my work was never frantic. Achieving such steadiness was one of my desired outcomes for the goals I set in January, so I’m pleased to be approaching that ideal.
- Active projects: 2
- Bars composed: 167
- Bars revised: 314
- Bars arranged: 6
- Additional sketch pages written: 7
- Hours spent composing: 56
- Days I composed vs. potential work days: 20/23
- Potential bars composed (@8 bars/day): 184
Exploring the Numbers
Although my composing speed remained steady (about 8.5 bars composed or revised per hour), I’m pleased with how my time spent composing has continued to increase. Here are some of the highlights:
- Perhaps the largest change was in my hours composed. I almost tripled February’s total hours (22), and I about doubled February’s average hours (2h50 vs. 1h23).
- March’s also revision numbers nearly tripled February’s (129).
- March continued the trend of missing fewer potential composing days, from 7 to 5 to 3.
In the 52 hours I spent on the septet in March, I fleshed out the piece’s narrative and completed about 85% of it. Fortunately, I’ve completed all the hard work.
Over the weekend, I hope to wrap the piece up and then spend the first full week of April tweaking and proofreading. This schedule is still a little tighter than I’d like, but I don’t foresee having to pull any all-nighters.
Sometime this coming week I also need to name the septet. My initial inspirations were clouds and hatching patterns, but the piece has gone in a different direction. The way I hear it, the music is dark, but at the same time it glows. It reminds me of jungles, opals, Greek choruses, flickering sunlight, purple, and moonlit water. None of these are good titles in themselves, but where these images lead.
Sign up to stay in the loop about music worth hearing, process tips worth trying, career relationship ideas worth pursuing, and creative stories worth living.