Twice in One Night

In case you haven’t been following my concert schedule (though that’s silly—of course you have!), the next six days will feature four performances of my music, including one night, Friday, when I have two performances. If you’re here in Utah, you have no excuse not to see one of these shows. They’re going to be great! So . . .

Tonight and Tomorrow (March 31 and April 1), BYU’s Contemporary Dance Theatre is putting on its “New Works New Voices” concert featuring choreography by Annie Garlick to my recent piano trio, “Gorre and Daphetid.” She’s created a powerful dance, “Reaching the Threshold,” that responds to the sadness of when one is helpless while loved ones suffer. The rest of the evening will be fabulous as well. Show starts at 7.30 pm at the BYU Richards Building Dance Studio Theatre. Tickets are $6; you can order them here. Also check out the article in the Daily Herald.

. . . But, as promised, there’s more!

Tomorrow and Tuesday (April 1 and April 5), Tara Hill and Mark Witmer will be premiering the first movement of my Clarinet Sonata. Tomorrow night’s performance is part of Tara’s senior recital. She’s assembled an exciting program that, in addition to my piece, features composers as far flung as Max Bruch, Elliott Carter, and Bela Kovacs. The concert starts at 9.30 pm in BYU’s Madsen Recital Hal, leaving you plenty of time to see “New Works New Voices” beforehand. Oh, and it’s free.

Finally, for those who will miss this weekend’s performances, as stated Tara Hill and Mark Witmer will be reprising their performance for the BYU Student Composers Recital on April 5. The concert starts at 7.30, is free, and will be followed by refreshments and witty banter.

I hope you all can make it to at least one of these concerts to see some really great music and dance!

Swing, or being a musician among dancers

So BYU has a reputation of having a great dance program. In fact, its top team won two firsts at this year’s Blackpool Dance Championships. Since good number of my friends are also involved in the dance program, it was only a matter of time before I decided to take the plunge.

Actually, I already plunged six years ago when, as a freshman, I took the obligatory Dance 180 (“Social Dance”). As my first ballroom experience, I fumbled through and somehow got bronze level certification, even though I was pretty certain that dance was beyond me. One mission and four years of undergraduate degree later, I decided it was time to have another go, and accordingly signed up for Dance 280. In the intervening years, the occasional dancing I’d done convinced me that now I did not have two left feet, and maybe only one and a half.

So this term I am taking “Social Dance 2,” and as I had expected, things actually have begun to click . . . mostly. The class is going just at the edge of my being able to keep up. Most of the time, it’s all I can do to learn the steps let alone apply the technique. The other day the TA came up to me and the girl I was dancing with and suggested that we try to dance in more masculine and feminine ways respectively. Right now, he said, we were dancing too neutrally. He showed us what he meant, and I might have noticed some slight difference, but mostly I thought to myself, “Mr. TA, I’ll accept the compliment that you seem to think I have enough control over what I’m doing to make that difference.”

That was cha-cha. When it came time to take the test, I did okay, though I had only negative (though valuable) feedback on my test sheet. With that, we moved on to triple swing. I think dancers need a translate function, too. There’s one step we were doing, called the “windmill,” that took me forever to figure out. The step involves leading the girl around you, kind of like a windmill. In the mean time, the guy is supposed to rotate himself while triple stepping. I couldn’t wrap my feet around how to do that nor could any of my friends or instructors point me in the right direction (though they tried). Finally, I sat out watching the rest of the class as they did the step until I realized, “That’s what I’m doing wrong!” (I’m not even going to try to describe it.) Then all the advice I’d been given suddenly made sense.

So today we tested swing, and this time there was a positive comment among all the “too much back lean” and “occasionally shuffling”: “You’ve improved a lot since cha-cha.” There it is, folks: I’m moving up in the dance world, one comment at a time. Mostly, I think I’m beginning to learn how to translate dancer sense of space and rhythm into a musician sense of such.

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