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Dear Guests, Welcome to my blog which I treat like a creative garden where I regularly plant and change this and that be it poetry, philosophy, an Oboe Brilliance lesson, an essay of some kind, or a journal about composing. Visit every Monday for oboe coaching which is also helpful for many melodic instrumentalists. Musically yours, Kathryn
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"How do you compose?" That is the most commonly asked question I hear.
This blog is a window into my creative process and philosophies as a composer and instrumentalist. At times it may contain music, photos, and poetry as well. May you enjoy, return, and benefit!   My Archives  September 2010 August 2010 July 2010 June 2010
About Emotional Brilliance
Emotional Brilliance Introduction Composer Courtesty Summer Solstice version Rain on Sunday Night today Lydian Lullaby Bio/Resume update Black Rose Blooming Under Full Moon One May 2010 April 2010 March 2010 February 2010 January 2010 December 2009 November 2009 October 2009 September 2009 August 2009 July 2009 June 2009 May 2009 April 2009 March 2009 February 2009 |
Dear Guests,
Emotional Brilliance is a pertinent chapter in my work in progress pedagogy for oboe “Oboe Brilliance” but you don’t have to be a musician (in the technical sense) to practice “Emotional Brilliance” so I’m making it available separately. My philosophy is that the core part of being a musician and music teacher, is to be “heart full” as well as “mind full”. “Emotional Brilliance” is my liberating and disciplined path for being a consciously heart full person, teacher, and oboist. While the technical development of being an instrumentalist is core, the emotional, artistic and heart full is essential. Heart full is also core in terms of taking the audience to the other side making the musical experience a transcendent experience. Otherwise, it’s just noise or just another heartless job. So, if noise is a waste of time, then heart full is worth every second. As far as I’m concerned the whole point of music is being heart full. If I had to save just one chapter/book of Oboe Brilliance, it has to be “Emotional Brilliance” better to live a life of heart without a musical instrument, then to live a heartless life with one! After all, a musical instrument is simply an extension of the body to transmit the heart – individual and universal. Being an instrumentalist from my school of thought is to be an amplifier for the heart to build a bridge to integrated transcendence. Oboe Brilliance would be incomplete without Emotional Brilliance and from my perspective, life is incomplete without focus on being “mind full” and most of all “Heart Full”. I’ve designed Emotional Brilliance carefully over years and am currently getting it down into its final presentation with this subscription of Emotional Brilliance. These exercises are ones I’ve been practicing, teaching, modifying, for one or more decades. It’s gets VERY juicy especially down the road when cultivated skills can be applied in dream work – but that’s for me to know and you to find out!!!!!!!!!!!! Oh yeah. Musically yours, Kathryn
Dear Guests,
Introducing Emotional Brilliance Emotional Brilliance: (C)Kathryn Potter 2010 An exploration of the subtle realms of your in depth emotions through the unique meditations, philosophies, disciplines and music created by me, Kathryn Potter. 60 lessons total, 12 lessons per year delivered once per lunar month (at the dark moon), grouped into five, one year classes. Subscribe now for the first year only(starting September 8th 2010) and stay locked into the introductory price annually for the next 5 years should you wish to continue. $145 annually. Here is the first class for your discernment, practice, scrutiny and joy. Philosophy of lesson # 1: Just as people have different capablities with what they can do with physical movement due to physical immaturity, lack of development, genetic defects or wounding, people have different capabilities with how well they can hear, and understand emotions. What gymnastics can be to the body, art can be to the heart of the individual and society. Musical piece of lesson # 1: Celestial Light Ringing : Buy on MUSIC PAGE to subscribe and hear in full first. PLEASE NOTE: This is a long piece, if you can't receive it via email, then you need to upgrade your system in order to receive your pieces and subscription. No refunds are given. If you are not certain if you can receive this, then ask me to send you this one piece via email for free. Listen to this piece several times as you wish at different times of day and night in a meditative position for one lunar cycle. Focus your attention on your breathing and observe your emotions as you listen to the music. Keeping a journal of your observations is encouraged. Meditation of lesson # 1: The primary 5 step focus (each step lasting approximately one minute) Step #1 : while maintaining awareness of the souls of your feet and with eyes closed while preferably in a sitting position simply observe your breathing for approximately one minute Step # 2: continue step one and add to your focus all you can hear Step #3: continue step two and add to your focus all you can smell as you deliberately breathe deeper and slower Step # 4: continue step three and add to your awareness your current emotions Step # 5: continue step four, touch fingertips together pinky to pinky and so on, open eyes and equally observe what you can see along with your other senses Discipline lesson # 1: Every time you walk through a doorway for the next lunar cycle, be as conscious as possible of the souls of your feet and your emotional state. What do you observe? Extra assignment which is very liberating: Avoid seeing all physical reflections and images of yourself for one lunar cycle. Keep a journal of your observations of your emotions and the emotions of others. Now imagine following this course each month for one year, now for five years in a row! Tide is rising, subscribe now to receive lessons and music directly into your email inbox on a monthly basis for one year. Musically yours, Kathryn
Dear Guests,
Where would we be without our fathers? In honor of Father's Day - which also marks the 1/2 year and Summer Solstice, I'm changing the "Composer Courtesy Subscription" which is normally for a full calendar year, Winter Solstice to Winter Solstice, to a half a year subscription from now until the Winter Solstice for $5. By subscribing you receive the latest mp3s I create delivered directly to your email inbox for your listening pleasure to keep and repeatedly enjoy. You'll be keeping your finger on the pulse of creation by hearing the most recent music created by me - a living breathing composer. I often include information about the creation or what inspired it in the accompanying email. This is a two way courtesy. I show courtesy to you by sending you the music and information directly for your convenience, and you show me the courtesy of economic support of my artistic endeavors. Win/win. Musically yours, Kathryn
Dear Guests,
This morning I was considering the health of the planet, wondering about the future health of the planet and contemplating aspects of previous Native American culture, namely how when a baby was born, the baby would be given the name of what was being observed in nature at the time of the birth. I happen to like that tradition and the foundation it creates of life in relationship with the earth. I was born on a Sunday and it was raining. Maybe my name would be rain? I LOVE that. So today, I refer to myself in contemplation as Rain. This is good for me. So, one thought led to another and then I created this sculpture. I hope you'll enjoy it as I do. Musically yours, Kathryn
Dear Guests,
Night is a composition I wrote several years ago. Believe it or not, it was originally written for solo flute! At that time, I simply never even considered composing for double bass. I was mourning a lost opportunity and grieving a road not taken due to what seemed to be a lack of courage and patience - on the one hand - at that time. On the other hand, it was a good thing I didn't take that road, when stepping back and looking at the bigger picture. I wrote this piece while letting go of my attachment of that road/dream and accepting it as best over all with relief that it didn't come to pass. I was also grieving how long I had been attached to that possibility and the cloud I lived under while being attached rather than fully on the road I was traveling due to internal confussion, tumult, lack of resolution and resolve. In a sense this was a farewell piece to that quicksand of emotional, mental, psychological fabric in which I HAD been interwoven for years. I wasn't happy with how the piece worked on the flute especially since I thought I really nailed the gist via the composition, so back then, I burned all the music!!! - so I thought. Years later, the same week I met Eliot in rehearsal for a concert I was putting together in 2004, I found the first working sketch of Night which I had failed to find and burn. "AHA!!!!!!!! This is PERFECT for the double bass. I then immediately transposed the composition and adapted it for the bass. Ta da, the piece worked as intended and here we have it now. After Eliot recorded the 5 movements of the Bass Suite #1, and while all the recording equipment was still set up in the church where we were recording, I asked him to play through Night so we'd have a recording of it. He nailed it on the first run through. I'm so glad I missed the sketch and didn't burn it!!! I wrote this piece of the heals of a string 4tet that I started and had to stop because the emotional spaces I was finding within were too painful to continue. My ability at that time was greater to find darkness than to transform or balance by shedding light upon it. It was as I would term, more journalism than artistic alchemy. Personally, I need a balance of depth and brilliance in order to compose. It is as if I need a rope as long as the depth I find in order to climb back up, and then I need a ladder which is called imagination which takes flight. Yes, I think the imagination is linked to emotional health, which is linked to physical health, attitude and mental health. I think music is crucial to personal and cultural evolution while being significantly influential. Hope you enjoy the work. I think Eliot captures the great depth of feeling, sensitivity and provides nuance of this work in this performance. Musically yours, Kathryn
Dear Guests,
Today I direct myself back to the project "In Adoration of the Earth" I am studying lions and squids right now. http://www.defenders.org/wildlife_and_habitat/wildlife/lion.php# is a utube link with information regarding lions. Musically yours, Kathryn
Dear Guests,
As in the times of craft guilds where apprentices studied techniques, craftmanship, tools of the trade, the apprentice would submit a piece to the guild demonstrating mastery of craftmanship for approval and acceptance to the guild as a member. I would submit "Lydian Lullaby" (on home page and music page) as it demonstrates command of various traditional, and classical techniques. Because this piece is completely tonal and straightforward, it is a naked piece with no where to hide lack of technique with experimental or computer generated works. This piece shows creative use of one melody, spun out sentitively for 9 - 10 minutes, and effective writing for wind, percussion (piano) stings, and voice for the enjoyment of babies to elders. This acoustic 4tet was my first commission back in 1999 from Harry Rowney in celebration of his daughter Elizabeth's birth of her first baby. The full and proper title of this lullaby is "Elizabeth's Lydian Lullaby" however, for technical reasons I had to rename it "Lydian Lullaby" in order to upload it onto my website. At the time Mr. Rowney, a retired stock broker, was studying piano with me and I suggested he might like to celebrate the birth of his first grandchild with a lullaby! He and his daughter both play the piano, so of course, the piano would be an instrument used in the lullaby. I surprised Harry with a 9 minute 41 second quartet for - in order of appearance - cello, voice, piano, and flute!!!! Why not start off on the right foot comforting this grandbaby by these 4 essential musical voices?! It is written just as much for the mother Elizabeth as it is for Harry the very proud grandfather, and baby! Ron Clearfield* (www.ronclearfield.com)is the wonderful cellist, who also recorded this work. Gwenn Roberts is the gorgeous soprano who is as lovely in person as the sound of her voice. John Cobb, is the perfect pianist. Barbara Baker is the flautist who at that time was principal with the Asheville Symphony. Harry Rowney, a highly respected patron and supporter of piano excellence in Asheville, commissioned and produced this work. My composition teacher Ellie Armer said that a composer can be judged by how he or she can take one melody and spin an entire work out of it, and be judged by the quality of writing a 4tet. I deliberately composed this piece to use as a representative of basic composing skills to aid me in attracting future commissions. I chose the Lydian mode because it has a more magical quality than the major and minor scales Western ears are accustomed to hearing. A minor mode for a long lullaby is too somber for what I wished to create, and a major mode isn't the color I wanted for a lullaby either. The Lydian mode seemed just right to escort a little one into the land of dreams! I composed this 4tet after a 10 year stretch of composing a lot of modal melodies for students. I enjoyed the contrapuntal aspect of composing this and hope that you enjoy this work! SEE BELOW FOR MORE INFORMATION REGARDING ARTISTS ______________________________________ * Ron Clearfield Conductor and Music Director Blue Ridge Orchestra UNC-Asheville Chamber Symphony Asheville Youth Orchestra www.ronclearfield.com clearfieldstudios@earthlink.net ______________________________________ Thank you for visiting. Musically yours, Kathryn
My devotion to music is lifelong and my love of sound and silence profound.
At a very brief glance my life can be put into 3 catagories: 1) student/performer 1973 - 1990 2) mother/private music teacher/part time composer 1991 - 2010 3) full time composer/back to serious oboe playing/part time teacher 2010 While in the crib I would wait for the wind up duck to stop its musical noise so I could go back to hearing the music in my mind which I prefered. (To this day I keep the clock work of it on the windowsill of my music or room.) Before attending Kindergarden I learned that composers write down onto paper what they hear inside so that others can enjoy it too. At a very young age I vowed to myself to learn the language of music since I must be a composer. At age 3, I heard the oboe for the first time and fell head over heals thoroughly in love with it. I started playing in January of 1973 when I was 8 (after waiting 5 terribly long years)and have been playing ever since for the past 37 years now! 1) FIRST I STUDIED: my teachers were... James Cassara Peter Hertling, L.I. N.Y. Lois Wann* N.Y.N.Y - oboe matriarch!- after she was Cleveland and N.Y. Phil principal Peter Hedrick*, Ithaca N.Y. (while I attended I.C.) Michael Winfield, London England - (right after he retired as Royal Phil principal) Marc Liefschy*, S.F. CA - (while I attended S.F.C. of M - my ALMA MATER) - while he was principal w/S.F. symphony * on merit scholarship which I earned through intense passionate practice and competing years via N.Y.S.S.M.A., receiving A and A+ ratings competing for years on level VI which was vital to opening doors to study with Wann, Hedrick, and Liefschy During my oboe educational experience I constantly played in a plethora of bands, chamber groups and orchestras, gave many recitals plus performed ballet for 12 years, other dance for a few, acted in a few plays, and sang constantly in choruses which I LOVED. I must also include that I played piano since I was 6 for several years before receiving formal training. I am now grateful for this although at the time I begged for lessons. Finally my grandfather provided lessons for me when I was 13 to 17. more study: private piano from 1976 - 1988, private voice, periodically COMPOSITION: Karel Husa in Ithaca N.Y. while I attended I.C. - as a double major in oboe performance and composition Ellie Armer: S.F.C.of M. my ALMA MATER, as a composition major after I first got in through the door as an oboe performance major. 2) THEN I TAUGHT: 1992 - present: oboe to all ages in my music studio, (plus flute and piano)- during which time I composed too, and performed periodically During my time as a teacher to date I organized two performance series running a year or so each in the 90's in downtown Asheville at the Green Door, and then several private concerts My abilities as a composer have been growing more and more over time. I have been able to cultivate my skills organically and non commercially while out of school and somewhat while raising my son and running a music studio. 3) NOW I OFFICIALLY COMPOSE FULL TIME: as of June 2010, and am reclaiming conservatory level playing chops and beyond on the oboe in order to perform my compositions on my new Laubin. Prior to June 2010 I composed part time: Since 2008 I've been composing for full orchestra and really flexing my composer chops on a grand scale - oh pun intended! I'm thrilled with what I'm composing for oboe duets and am finding my voice more and more as a composer beginning to approach what I consider to be a professional level skill matching my oboe skills. My voice is unique, and I look to be published soon beyond self publishing. Read on about my composing: Kathryn composes for solo instruments up to full orchestra for musicians of any skill level as well as pipe organ, harpsichord, classical guitar, piano, and voice. Her specialty to date is composing solo material for individual instrumentalists to take the player to higher and new fulfilling sonic experiences in relationship to his/her instrument. She has been “hearing” music inside her head all of her life, has a rich imagination and has been committing it to the page since 1976. Since 2003 she has also been creating electronic sounds sculptures. In 2009 she began composing for full orchestra. She accepts commissions; see commission page on website Some works to date listed below: inquire for details - see contact page on website Solos for virtuosic players: Trombone (2007), harpsichord (2000), cello (2007), double bass (2004), oboe - many years Pipe Organ works: “Holy Spirit” (2007): oboe and pipe organ, Celestial Light Ringing: oboe and pipe organ (2006), “Lamentations”: double bass and pipe organ (2005) String Quartet: double bass, cello, viola, violin “Listening to an Ancient Forest” (2007) Full Orchestra: “Agigua” (2009), "Now Point" ballet (full orch and with piano) (2010) Duets: "The Secrets of Ravens" (2010) -set of 7 oboe duets, oboe and double bass (2005), oboe and classical guitar (2001), oboe and pipe organ(2006, 2007), oboe and flute (2002), double bass and pipe organ (2006) Chamber: “Crossroads”: piano, voice, double bass*(2003, 2004), “Elizabeth’s Lydian Lullaby”: cello, voice, piano, and flute (2000) Solos for students: piano, oboe, flute – Books in progress – Oboe Brilliance: solos and duets for oboists day one to virtuosic players, technical elegance exercises, artistic liberation exercises, and essays about mentoring, plus other books such as "The Secrets of Ravens" oboe duets, and "In Adoration of the Earth" a series of oboe soli. Electronic sound sculptures: hundreds created on my Yamaha Clavinova see Works on website to hear and or purchase LASTLY: Worthy of mentioning is my love of poetry which I am being now coached in writing, thank you Diana Manister - who's poetry I am now setting. Of great influence to my music is my relationships with nature, and meditation. Sound, rhythm, communion, communication and silence are significant ingredients to my artistry. For more information, or to possibly purchase an above work, contact me via contact page. To commission, see commission page, to study, please see home page and fill out questionaire. Thank you for your time and interest. Musically yours, Kathryn
Dear Guests,
The piece "A Rose for Freya" was originally titled as I was working on it, "Black Rose Blooming Under Full Moon". I decided today to put up the whole thing, not just an excerpt, up for guests to hear because I feel it is an important piece of 21st century art as it is in response artistically to the utter horror of the gushing oil - as if the bowls of the earth were releasing - into our planet. From my perspective, it takes our out of harmony, out of balance with nature culture to a whole newer, more horrific level. Four generations ago, indigenous people could hunt and live a nomadic life. Four generations ago children learned how to hunt, if not nomadic - grow crops, make clothing, cook, and raise children communally, and live as a culture via earth rhythms and natural light. This is not even possible now. The farmland in the U.S. is corporate and out of balance for the most part. The air and water is polluted and now in addition to all the sludge, pollution - sonic and chemical, and garbage dumped into our oceans, we have this outpouring of oil tipping the scales to unbelievable devastation. I dread the negative domino effect. I must HOPE that through awareness, not forgetting, and learning from this multi level grievous error, we as a species will learn to turn things around so that hopefully, 4 or 7 generations from now, our descendants can live in harmony and in balance - if that is indeed possible. Born in 1965, I look back, shocked. It appears that since the 1950's, the U.S. has been taken over by corporations of the world. Corporations have more control over the people than the people now in the U.S. government. We are an industrialized military complex on a fast track to extinction (listen to Rat Race to Extinction). Corporations govern the health, finances, and government more than common sense which is no longer taught. From my perspective our entire culture is totally insane. Even art - especially art - has gone corporate, main stream, and edifies corporations more than it edifies the human need to heal and explore emotionally. I'm utterly horrified and I'm revolting as an artist. My music is influenced by my profound love of our planet, rhythms of nature, and deep emotional/psychological questing. Is there hope? Of course. There is still hope, there is still time to change the tides of our collective destruction. Those of us who are U.S. citizens can use the existing system to make drastic change - if we choose to - via peaceful means. The ONLY effective change has come about via courage, intelligence, peace and defiance. Ghandi is my hero. Martin Luther King.... only love, courage, and hope can make a lasting difference. Only embracing harmony and beauty of one another, and our shared life on earth with compassion can lead us back toward a peaceful and harmonious existence. The May 31st blog issues a message of hope. This I believe is imperative. Musically yours, Kathryn
Dear Guests,
“One” is the first in my abstract series sans image and commentary. Pure music. Enjoy. Cheers, Kathryn |
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