WEBVTT
00:00:00.140 --> 00:00:03.419
Arriving at Fantasy Recording Studios in Berkeley,
00:00:04.480 --> 00:00:07.139
California, Bob Edwards, the studio engineer,
00:00:07.440 --> 00:00:10.720
and I began to settle into the control room of
00:00:10.720 --> 00:00:15.199
studio C. Many of the musicians of the orchestra
00:00:15.199 --> 00:00:19.239
began arriving shortly after. As the members
00:00:19.239 --> 00:00:21.640
of the orchestra began taking their seats in
00:00:21.640 --> 00:00:24.879
the live room, the door to the control room opened.
00:00:25.660 --> 00:00:30.670
A young woman peeked inside, softly saying, Patty, Saul
00:00:30.670 --> 00:00:32.710
would like it if you would come up to his office
00:00:32.710 --> 00:00:35.829
when you're finished." I smiled and told her
00:00:35.829 --> 00:00:39.689
I'd be happy to. I still remember Bob turning
00:00:39.689 --> 00:00:44.810
around looking at me like, Who are you? I separated
00:00:44.810 --> 00:00:48.750
the individual music charts to be played. Neatly
00:00:48.750 --> 00:00:52.530
handwritten, pencil on staff paper, I entered
00:00:52.530 --> 00:00:55.750
the live room with the orchestra and began handing
00:00:55.750 --> 00:01:00.670
them out. Taking a brief last look at the master
00:01:00.670 --> 00:01:04.010
score I was about to hand to the conductor, a
00:01:04.010 --> 00:01:08.010
young girl, a bit timid, was raising her hand,
00:01:08.230 --> 00:01:12.689
looking a little confused. Miss Carlson, she
00:01:12.689 --> 00:01:18.170
said. Yes. Um, I'm not sure exactly how to say
00:01:18.170 --> 00:01:25.269
this. Go on. Well, on bar 36, the third note
00:01:25.269 --> 00:01:29.359
in... The stem on the note, it's going the wrong
00:01:29.359 --> 00:01:34.840
way." Explain, please," I said. Well, she said
00:01:34.840 --> 00:01:38.599
timidly, in music notation there are certain
00:01:38.599 --> 00:01:42.180
rules. If a music note is placed on the middle
00:01:42.180 --> 00:01:45.159
line of the staff, the stem can go up or down.
00:01:45.280 --> 00:01:48.920
It's the composer's choice. If the note is placed
00:01:48.920 --> 00:01:52.739
below the middle line, the stem has to go up.
00:01:53.560 --> 00:01:56.299
If the note is placed above the middle line,
00:01:56.760 --> 00:02:02.140
the stem has to go down. On bar 36, the third
00:02:02.140 --> 00:02:05.980
note in is above the middle line, but the stem,
00:02:06.060 --> 00:02:10.360
it's going up instead of down. I couldn't help
00:02:10.360 --> 00:02:14.080
but laugh. Young lady, I did not know that rule.
00:02:14.580 --> 00:02:17.840
Thank you very much for that information. Here's
00:02:17.840 --> 00:02:20.539
a pencil and eraser. Would you mind correcting
00:02:20.539 --> 00:02:24.759
that for me? Yes, of course, she said enthusiastically,
00:02:24.819 --> 00:02:28.620
I'd be happy to. I turned to look back into the
00:02:28.620 --> 00:02:32.419
control room. The smile on Bob's face was priceless.
00:02:33.860 --> 00:02:36.840
After we finished the recording session, the
00:02:36.840 --> 00:02:39.620
members of the orchestra shook my hand one by
00:02:39.620 --> 00:02:42.500
one, saying how much they enjoyed the music.
00:02:43.319 --> 00:02:46.879
They crowned me their grassroots composer, saying
00:02:46.879 --> 00:02:49.280
they would love to work with me in the future.
00:02:50.919 --> 00:02:54.180
We took a brief break, waiting for the specialized
00:02:54.180 --> 00:02:58.840
performing artists to arrive. Alex deGrassi and
00:02:58.840 --> 00:03:01.979
Jamii Szmadzinski from Windham Hill Records arrived
00:03:01.979 --> 00:03:06.520
shortly later. Alex's unique classical guitar
00:03:06.520 --> 00:03:09.479
playing lent a special feeling to the music,
00:03:09.819 --> 00:03:12.479
portraying the visual footage of the New Mexico
00:03:12.479 --> 00:03:17.219
landscape. Jamii, who performed electric violin,
00:03:17.599 --> 00:03:20.740
was given the part characterizing the story of
00:03:20.740 --> 00:03:25.599
White Sands, a nuclear testing site. Composing
00:03:25.599 --> 00:03:30.000
music for film involves understanding how tonality
00:03:30.000 --> 00:03:34.439
and form create a supporting ambiance to the
00:03:34.439 --> 00:03:38.360
visuals and underlying story being conveyed by
00:03:38.360 --> 00:03:43.500
the filmmaker. Jamii's electric violin fully
00:03:43.500 --> 00:03:47.939
embraced the characterization of a nuclear presence,
00:03:48.539 --> 00:03:52.360
portraying an initial blast, followed by a drawn
00:03:52.360 --> 00:03:57.280
-out aftershock, and a touch of sorrow, dramatic,
00:03:58.120 --> 00:04:03.460
eerie, piercing. The Portrait of America New
00:04:03.460 --> 00:04:07.900
Mexico film was the recipient of the Ciné Golden
00:04:07.900 --> 00:04:12.199
Eagle Award. As Bob was finishing working on
00:04:12.199 --> 00:04:15.569
the final mix, I gathered my belongings getting
00:04:15.569 --> 00:04:21.069
ready to meet with Saul. Patty, Bob said sternly,
00:04:21.370 --> 00:04:23.730
grabbing a small scrap of written notes on staff
00:04:23.730 --> 00:04:29.589
paper I had left on the desk. No, no, no. Don't
00:04:29.589 --> 00:04:32.750
leave anything of your music notation. Someone
00:04:32.750 --> 00:04:37.189
will steal it. He was visibly upset with me.
00:04:38.230 --> 00:04:42.589
Steal what, Bob? It's nothing. It's a line. It's
00:04:42.589 --> 00:04:46.279
nothing. I'm telling you, Patty, never, never,
00:04:46.279 --> 00:04:49.839
ever leave anything. Someone will steal it, okay?
00:04:51.040 --> 00:04:55.920
Okay, Bob. I'll be more careful." He seemed to
00:04:55.920 --> 00:05:00.379
calm down as I left for Saul's office. I kept
00:05:00.379 --> 00:05:03.600
thinking on my way up to see Saul. It was nothing.
00:05:04.120 --> 00:05:07.360
It's just a line. It didn't mean anything. I
00:05:07.360 --> 00:05:10.259
write a thousand lines a day, like water coming
00:05:10.259 --> 00:05:14.079
out of a faucet. I surely didn't want to upset
00:05:14.079 --> 00:05:18.540
him. Little did I know at the time the reality
00:05:18.540 --> 00:05:23.480
of the business of music I was in. The closer
00:05:23.480 --> 00:05:26.800
I got to Saul's office, the more I just kept
00:05:26.800 --> 00:05:31.339
smiling. I felt an extraordinary sense of accomplishment
00:05:31.339 --> 00:05:35.779
seeing him again, like an old friend who had
00:05:35.779 --> 00:05:39.639
in some way participated directing the destiny
00:05:39.639 --> 00:05:43.709
of my life. You could hear his booming voice
00:05:43.709 --> 00:05:46.370
coming from his office before I even reached
00:05:46.370 --> 00:05:50.850
the door. Come on in, Patty! The same booming
00:05:50.850 --> 00:05:54.009
voice who called me over to his table when we
00:05:54.009 --> 00:05:59.250
first met. Young lady, you've been busy! Yes,
00:05:59.250 --> 00:06:03.790
sir. We talked about music, how I learned to
00:06:03.790 --> 00:06:06.350
write music in school, and I thanked him even
00:06:06.350 --> 00:06:09.250
though I was a bit resistant to his demand I
00:06:09.250 --> 00:06:14.300
go to school. We laughed about many things. Time
00:06:14.300 --> 00:06:18.079
passed. I needed to meet Bob as we were leaving
00:06:18.079 --> 00:06:22.600
together. Reluctantly, I told Saul I needed to
00:06:22.600 --> 00:06:26.279
leave. Saul took a piece of paper and wrote a
00:06:26.279 --> 00:06:30.319
name and phone number down. Here, he said, this
00:06:30.319 --> 00:06:35.120
is my attorney. Call him. Tell him I sent you.
00:06:36.339 --> 00:06:39.819
Heading back toward Studio C, I wondered why
00:06:39.819 --> 00:06:42.199
on earth Saul would tell me to call his attorney.
00:06:43.420 --> 00:06:45.660
I put the name and number in a safe place.
00:00:00.140 --> 00:00:03.419
Arriving at Fantasy Recording Studios in Berkeley,
00:00:04.480 --> 00:00:07.139
California, Bob Edwards, the studio engineer,
00:00:07.440 --> 00:00:10.720
and I began to settle into the control room of
00:00:10.720 --> 00:00:15.199
studio C. Many of the musicians of the orchestra
00:00:15.199 --> 00:00:19.239
began arriving shortly after. As the members
00:00:19.239 --> 00:00:21.640
of the orchestra began taking their seats in
00:00:21.640 --> 00:00:24.879
the live room, the door to the control room opened.
00:00:25.660 --> 00:00:30.670
A young woman peeked inside, softly saying, Patty, Saul
00:00:30.670 --> 00:00:32.710
would like it if you would come up to his office
00:00:32.710 --> 00:00:35.829
when you're finished." I smiled and told her
00:00:35.829 --> 00:00:39.689
I'd be happy to. I still remember Bob turning
00:00:39.689 --> 00:00:44.810
around looking at me like, Who are you? I separated
00:00:44.810 --> 00:00:48.750
the individual music charts to be played. Neatly
00:00:48.750 --> 00:00:52.530
handwritten, pencil on staff paper, I entered
00:00:52.530 --> 00:00:55.750
the live room with the orchestra and began handing
00:00:55.750 --> 00:01:00.670
them out. Taking a brief last look at the master
00:01:00.670 --> 00:01:04.010
score I was about to hand to the conductor, a
00:01:04.010 --> 00:01:08.010
young girl, a bit timid, was raising her hand,
00:01:08.230 --> 00:01:12.689
looking a little confused. Miss Carlson, she
00:01:12.689 --> 00:01:18.170
said. Yes. Um, I'm not sure exactly how to say
00:01:18.170 --> 00:01:25.269
this. Go on. Well, on bar 36, the third note
00:01:25.269 --> 00:01:29.359
in... The stem on the note, it's going the wrong
00:01:29.359 --> 00:01:34.840
way." Explain, please," I said. Well, she said
00:01:34.840 --> 00:01:38.599
timidly, in music notation there are certain
00:01:38.599 --> 00:01:42.180
rules. If a music note is placed on the middle
00:01:42.180 --> 00:01:45.159
line of the staff, the stem can go up or down.
00:01:45.280 --> 00:01:48.920
It's the composer's choice. If the note is placed
00:01:48.920 --> 00:01:52.739
below the middle line, the stem has to go up.
00:01:53.560 --> 00:01:56.299
If the note is placed above the middle line,
00:01:56.760 --> 00:02:02.140
the stem has to go down. On bar 36, the third
00:02:02.140 --> 00:02:05.980
note in is above the middle line, but the stem,
00:02:06.060 --> 00:02:10.360
it's going up instead of down. I couldn't help
00:02:10.360 --> 00:02:14.080
but laugh. Young lady, I did not know that rule.
00:02:14.580 --> 00:02:17.840
Thank you very much for that information. Here's
00:02:17.840 --> 00:02:20.539
a pencil and eraser. Would you mind correcting
00:02:20.539 --> 00:02:24.759
that for me? Yes, of course, she said enthusiastically,
00:02:24.819 --> 00:02:28.620
I'd be happy to. I turned to look back into the
00:02:28.620 --> 00:02:32.419
control room. The smile on Bob's face was priceless.
00:02:33.860 --> 00:02:36.840
After we finished the recording session, the
00:02:36.840 --> 00:02:39.620
members of the orchestra shook my hand one by
00:02:39.620 --> 00:02:42.500
one, saying how much they enjoyed the music.
00:02:43.319 --> 00:02:46.879
They crowned me their grassroots composer, saying
00:02:46.879 --> 00:02:49.280
they would love to work with me in the future.
00:02:50.919 --> 00:02:54.180
We took a brief break, waiting for the specialized
00:02:54.180 --> 00:02:58.840
performing artists to arrive. Alex deGrassi and
00:02:58.840 --> 00:03:01.979
Jamii Szmadzinski from Windham Hill Records arrived
00:03:01.979 --> 00:03:06.520
shortly later. Alex's unique classical guitar
00:03:06.520 --> 00:03:09.479
playing lent a special feeling to the music,
00:03:09.819 --> 00:03:12.479
portraying the visual footage of the New Mexico
00:03:12.479 --> 00:03:17.219
landscape. Jamii, who performed electric violin,
00:03:17.599 --> 00:03:20.740
was given the part characterizing the story of
00:03:20.740 --> 00:03:25.599
White Sands, a nuclear testing site. Composing
00:03:25.599 --> 00:03:30.000
music for film involves understanding how tonality
00:03:30.000 --> 00:03:34.439
and form create a supporting ambiance to the
00:03:34.439 --> 00:03:38.360
visuals and underlying story being conveyed by
00:03:38.360 --> 00:03:43.500
the filmmaker. Jamii's electric violin fully
00:03:43.500 --> 00:03:47.939
embraced the characterization of a nuclear presence,
00:03:48.539 --> 00:03:52.360
portraying an initial blast, followed by a drawn
00:03:52.360 --> 00:03:57.280
-out aftershock, and a touch of sorrow, dramatic,
00:03:58.120 --> 00:04:03.460
eerie, piercing. The Portrait of America New
00:04:03.460 --> 00:04:07.900
Mexico film was the recipient of the Ciné Golden
00:04:07.900 --> 00:04:12.199
Eagle Award. As Bob was finishing working on
00:04:12.199 --> 00:04:15.569
the final mix, I gathered my belongings getting
00:04:15.569 --> 00:04:21.069
ready to meet with Saul. Patty, Bob said sternly,
00:04:21.370 --> 00:04:23.730
grabbing a small scrap of written notes on staff
00:04:23.730 --> 00:04:29.589
paper I had left on the desk. No, no, no. Don't
00:04:29.589 --> 00:04:32.750
leave anything of your music notation. Someone
00:04:32.750 --> 00:04:37.189
will steal it. He was visibly upset with me.
00:04:38.230 --> 00:04:42.589
Steal what, Bob? It's nothing. It's a line. It's
00:04:42.589 --> 00:04:46.279
nothing. I'm telling you, Patty, never, never,
00:04:46.279 --> 00:04:49.839
ever leave anything. Someone will steal it, okay?
00:04:51.040 --> 00:04:55.920
Okay, Bob. I'll be more careful." He seemed to
00:04:55.920 --> 00:05:00.379
calm down as I left for Saul's office. I kept
00:05:00.379 --> 00:05:03.600
thinking on my way up to see Saul. It was nothing.
00:05:04.120 --> 00:05:07.360
It's just a line. It didn't mean anything. I
00:05:07.360 --> 00:05:10.259
write a thousand lines a day, like water coming
00:05:10.259 --> 00:05:14.079
out of a faucet. I surely didn't want to upset
00:05:14.079 --> 00:05:18.540
him. Little did I know at the time the reality
00:05:18.540 --> 00:05:23.480
of the business of music I was in. The closer
00:05:23.480 --> 00:05:26.800
I got to Saul's office, the more I just kept
00:05:26.800 --> 00:05:31.339
smiling. I felt an extraordinary sense of accomplishment
00:05:31.339 --> 00:05:35.779
seeing him again, like an old friend who had
00:05:35.779 --> 00:05:39.639
in some way participated directing the destiny
00:05:39.639 --> 00:05:43.709
of my life. You could hear his booming voice
00:05:43.709 --> 00:05:46.370
coming from his office before I even reached
00:05:46.370 --> 00:05:50.850
the door. Come on in, Patty! The same booming
00:05:50.850 --> 00:05:54.009
voice who called me over to his table when we
00:05:54.009 --> 00:05:59.250
first met. Young lady, you've been busy! Yes,
00:05:59.250 --> 00:06:03.790
sir. We talked about music, how I learned to
00:06:03.790 --> 00:06:06.350
write music in school, and I thanked him even
00:06:06.350 --> 00:06:09.250
though I was a bit resistant to his demand I
00:06:09.250 --> 00:06:14.300
go to school. We laughed about many things. Time
00:06:14.300 --> 00:06:18.079
passed. I needed to meet Bob as we were leaving
00:06:18.079 --> 00:06:22.600
together. Reluctantly, I told Saul I needed to
00:06:22.600 --> 00:06:26.279
leave. Saul took a piece of paper and wrote a
00:06:26.279 --> 00:06:30.319
name and phone number down. Here, he said, this
00:06:30.319 --> 00:06:35.120
is my attorney. Call him. Tell him I sent you.
00:06:36.339 --> 00:06:39.819
Heading back toward Studio C, I wondered why
00:06:39.819 --> 00:06:42.199
on earth Saul would tell me to call his attorney.
00:06:43.420 --> 00:06:45.660
I put the name and number in a safe place.
