Transcriptions & Schoenberg
Works of art make rules; rules do not make works of art.
A few days ago, whilst losing a polo match, I found myself transcribing in-between chukkas. This is pretty much how all conductors spend their ‘free’ time – we transcribe. Always. It’s in our academic nature. Then later, at our post-game supper, I had an interesting discussion with a club member about atonality, modern-classical music and Schoenberg’s Verklärte Nacht / Pierrot Lunaire.
It goes without saying that I hate Schoenberg but what I hate most is students having to struggle with him. So, I scoured JSTOR (can’t believe my old conservatoire still allows me access) and found what I think are a definitive duo of essays on Schoenberg – covering tonal relations and motivic transformations. Here they are:
As you chow down on the aforementioned take sometime to enjoy performing my, piano / guitar / vocal, transcriptions of Yoko Kanno, Shakespeares Sister and the Chili Peppers. Anyone wanting to transfer any of these in to Sibelius then your best bet is to use PhotoScore. Enjoy:-
Voices (Yoko Kanno, 1994)
Yoko Kanno has always been one of my all-time favourite composers. Everyone knows her for the fantastic work she and The Seatbelts put into Cowboy Bebop. Voices, however, is one of those beautifully lilting – almost ephemeral – songs that is terribly unappreciated. Not only is this a must listen for any fans of Kanno-sensei’s work but so is it’s film, Macross Plus.
Stay (Shakespeares Sister, 1992)
The year is 2001, I’m in prep-school and I have this major crush this one particular girl that I end up deciding that I’d like everything she does: Anime; Manga; Cold pizza, L’Arc-en’ciel and Shakespeares Sister. I even had a dream where she’d sung this song as I played piano. I don’t like Stay as much now as I did then, but it is lovely when performed well.
Under the Bridge (Red Hot Chili Peppers, 1991)
What more can I say? Fantastic lyrics! Excellent melody! And great to sing when absolutely high and drunk off your ass; ironically. This transcription is from the VPRO Amsterdam interview in 1992; because nothing beats John Frusciante on a fucking acoustic!
At the end of our lives we look back and think our childhood was Arcadia.