try to write a sea shanty but every melody i think of is just look down from les mis
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Claire Keane

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@reyshin
try to write a sea shanty but every melody i think of is just look down from les mis
a lot of us are working from home now, pretty abruptly. it’s hard, and especially if you’re like me, a sudden lack of structure coupled with really harsh self-expectations/a tense or unforgiving temperament is really challenging.
i started working from home fulltime this year, and my stop it series is a set of doodled observations i’ve made about the obstacles, bad habits, and unhealthy expectations i’ve found myself running into as i adjust. i hope maybe they can be helpful to other people too!
please check out the linked tag bc i have further observations/clarifications on these in the captions of the individual posts, but i figured it’d be good to finally dump all the notes i’ve made so far into one place.
and a final note on what i’ve run into as i get used to working from home: it is a really really difficult balance for me, bc on one hand i really NEED a lot of self-discipline and productivity assists to get things done and make enough money to survive. but on the other hand, a loooooot of productivity advice/motivation/tools out there are really heavily keyed into capitalism and the concept of productivity as self-worth, and it’s easier than you think to slide into destructive thinking because you’re trying to keep yourself on track. do what you have to do, but make sure that the measures you take to try to make home employment work and get things done are always abt helping yourself do what you need to do without strife, not wringing as much work out of yourself as possible.
Welcome! My name is Rhiannon Trueblood-Levesque, and I'm opening up music commissions! Please fill out the form below if you wish to commission a piece from me! During this process, I will be keeping close contact with you through email, just so that we know that we're on the same page (Ah, don't worry, it's all informal. If I'm gonna participate in capitalism, I'm gonna do it my way, as ethically as possible) If you ever need me, my email address is [email protected]. Thank you!
Alright, let’s try this again, shall we? Commissions are open! Toss a coin to ur musician
sometimes you wake up at the piano on page 5 with no memory of how you got there and then you have to spend the next 2 pages figuring out if you actually played that section
me: *practises bar 180*
me: *perfects bar 180*
me: *practises bar 181*
me: *perfects bar 181*
me: *plays bars 180-181*
me: *messes up both of them, worse than before the practice*
me: ???????????????????????????????????
Ode to Evergreen by Eric @Orchestorm
Listen to what I composed!
‘warm up’ is a fancy word we artists use to describe a drawing we did in order to put off the drawing we were supposed to be doing.
‘warm up’ is a fancy word we musicians use to describe a piece we played in order to our off the piece we were supposed to be playing.
Ohhh my god. he trying to music like a people
what on earth
please if you do anything useful in your life, don’t scroll past this
watch it
PLEASE
tchaikovsky is proud
In case anyone is baffled by this, there’s a Tchaikovsky piece in which there’s supposed to be a loud sound but he never specified what you should use to make that sound. People have done all kinds of weird shit depending on how they think the sound should, well, sound. Hitting a large piece of wood with a sledgehammer is a relatively conventional one.
can i offer you landlubbers a uquiz during these times: what trope on a pirate ship are you?
My entry for the Score Relief 2021 competition, re-scoring a selection from the Blender animated film ‘Spring’ for chamber orchestra.
Find out more about the competition & relief efforts here
A huge thank you to TheCueTube and their partners for making this incredible composition opportunity possible, and one must also acknowledge the good work & fundraising they are doing to support those affected by the COVID pandemic in the United Kingdom.
Music composed by Matthew Beardsworth, over 21-30 January 2021
Scored in Sibelius 2020.12 with NotePerformer 3.3.2
my dad likes to call the stretches of time where you’re not creating “dreaming periods” and says that they’re meant to allow you to absorb all of the beauty, life, and inspiration from the things around you so that when you’re able to create again, you will have fanned your spark back into a flame. sometimes its hard to see those moments as anything but stagnation, but he always says that they’re natural and healthy and needed—things that should be embraced rather than feared.
Jumping on the sea shanty bandwagon! I arranged an instrumental version of the Wellerman!
ok but like. space shanties.
there’s a thing that should definitely be a thing in sci-fi.
my brain went straight to the ‘put him in the airlock ‘till he’s sober’ part of ‘what can you do with a drunken spacer’ and i never want to look back from this.
THIS IS 100% A THING. It’s usually considered a subset of filk, so naturally a lot of prolific filk artists like Leslie Fish have a selection. Sci-fi filk is possibly my favorite genre of music.
Most of these are actually ballads, not true shanties, but still:
The Senate - Space Shanty
Kristoph Klover - Fire in the Sky
Duane Elms - Dawson’s Christian
Catherine Faber - Providence Skies
Julia Ecklar - Ballad of a Spaceman
Leslie Fish & Ann Prather - Hanrahan’s Bar
Julia Ecklar & Ann Prather - Pushin’ the Speed of Light
Leslie Fish - Ship of Stone
Leslie Fish - Guardians
Leslie Fish - Sam Jones
Vic Tyler - Space Hero
Vic Tyler & Duane Elms - Spacer’s Home
You can probably just google “sci-fi filk” and get a zillion more. It’s a surprisingly rich genre for one so unknown to most people.
I don’t normally reblog this kind of post, but this seems so perfect as background music for a dark matter game, I had to share it with you all. SPACE SHANTIES HO!
For those unaware reblogging this post, “What Shall We Do With A Drunk Space Pirate” was the close out song for the Mechanisms concerts. Their entire discography was taking folk songs and making them sci-fi epic concept albums.
Some of my favorite songs include:
Matty Groves, now with electric violin, about a lute that controls the dead.
Pump Me Boys, now a shanty about keeping the life support systems running on a dying ship.
Gently Johnny, now about sirens in a neo-noir sci-fi city lulling people into complacency.
Rising of the Moon, now about a doomed manager of a space station that descends into chaos and mutiny, left abandoned.
So I’m married to a person who grew up in Canada’s folk scene, and we often talk about folk music as a genre. I was cranky about the way that people tend to slap an “alt-folk” label on folk because they assume true folk is a dead genre, and I got thinking and went: what is a dead genre, anyway?
T chirped “sea shanties!” and then added “not that you can’t compose a new one, but it’s not in conversation with other songs that are being published at the same time, it’s only in conversation with other songs that have been written long before.” It’s important to know, in this conversation, that Tay grew up around Stan Rogers’ family and therefore knows damn well that you can write a song in the modern era that everyone assumes is a hoary old traditional: Rogers wrote “Barrett’s Privateers” in 1976 because he wanted to sing lead in a sea shanty and there weren’t any in existence that had a baritone singing lead.
No, seriously. And now there are lots and lots of people, less than fifty years later, who think that Barrett’s Privateers is a couple hundred years old and has Always Been Here.
So I started thinking about dead genres, and it occurs to me to ask: why is the sea shanty largely dead? Or rather, actually, why is the work song, which is the larger category of music that sea shanties are a subset of, largely dead? Why don’t we sing work songs anymore when we’re working? Stan Rogers wrote the “White Collar Holler,” of course, and the premise of that song is indeed the notion of making a work song for office work, but I can’t imagine anyone actually signing it at the office as they go about their work. For one thing, I code quite a bit at my day job, and the speed at which I code doesn’t depend at all on what the people around me are doing; indeed, trying to match my speed to theirs would probably make us all less efficient.
Tay’s theory is that industrialization killed the work song in the West (they pointed out to me very explicitly that the idea isn’t actually dead world-wide), especially as work became more cognitive for many people and less reliant on keeping time with the people you’re working alongside. After all, work songs are most popular when the most efficient way to work is to keep pace with everyone at the same time, so you’re neither too fast nor too slow, and you’re all working at parts of the same tasks that rely on other people’s tasks to keep going without building up too much of a deadlock at any one part of the process. So much of work for so many people today is more like piecework than making things on an assembly line, and like piecework, it’s so much easier for our employers to encourage us to take the work home and keep making as many pieces as we can before we fall over and collapse… or else it’s service work, and you can’t be singing at service work, you won’t be free to quickly respond to clients and adjust your tasks to their needs.
I suspect that’s not entirely it, though, because assembly line manufacturing work isn’t actually dead in the West, not even close, and the work song is still gone from our halls. Tay pointed out that OSHA and hearing protection make it more difficult in many of those jobs to be connected to other workers and keep time on the song, and I think there’s definitely an element of truth to that, too.
But I think the death of the work songs go even deeper than that. See, work songs didn’t completely vanish as work became less dependent on keeping time together. They just turned into songs about the condition of working, and from there they turned into songs about unionization, workers’ rights songs, like the ones the Wobblies used to great effect in the 20s. And that happened in response to managers and bosses who see singing and talking and responded by trying to control workers and make that shit stop. Some of that is about controlling unionization but some of it is about control, full stop: pretending to oneself that workers only really exist while you pay them as cogs that produce labor, and anything else they do is a distraction from the labor you pay for.
Why is it that we don’t have modern work songs for Amazon workers? There are enough of them, after all, their very boring and physically demanding jobs depend on keeping time together, and everyone’s working together in a relatively quiet environment. I’ll tell you: it’s because Amazon views interactions among its workers as a threat and bans workers from talking to one another or listening to music while they execute their shifts.
We lost the work song, I think, because we gained bosses that see the work song as a threat instead of an intrinsic part of keeping the work force from getting bored and stale and tired and making mistakes. In a real way, killing the work song is a decision you make if you don’t understand the value of the work song to the workers themselves: it makes the work less boring, so you stall out less, and it reminds you you’re all doing this together, and it keeps you all in time. The action of singing is valuable. But if you’ve never sung while you worked collectively on a project, you might not know that, and if you think in terms of zero-sum losses, the song becomes a waste of good breath you’re paying for at best and a threat of insurrection at worst.
And it’s very interesting thinking about the labor conditions on a spaceship that might bring such songs back again as useful aids to coordinating the labor of monitoring and running the ship. Or even, for that matter, coordinating the labor of other tasks in a spacefaring economy. Warframe’s “We All Lift Together” is one of these, of course. Surely there have to be others?