Island Blog 137 The Light Just Right

Music notes

 

 

I am excitedly working just now on new songs for recording, well,not recording yet, but more for designing and developing.  All day long I am humming little phrases, changing keys, changing words changing rythms.  Once I meet up with the Talented Two in a week or so, we will take my scribbles and mood-inspired poems and fashion music around them.  They, not I, will layer melodies and harmonies, suggest quirky add-ons that create depth and texture, colour and light.  And dark.  All I am required to do is to spend this preparation time doing what I do know how to do – put words together in a way that tells a story, that give a hint of pain or laughter, to show and not to tell it out too much, for we all like to fill in the spaces allowed us with our own feelings.  This is why some songs last forever and, to be honest, a lot of them make very little sense once we try to explain them.  A Whiter Shade of Pale was scribbled down in the back of a van in between gigs, so I am told, and, when asked what it meant, the writers just shrugged.  It’s not like schoolwork this song-writing thing, not at all.  I don’t have to show my workings, nor do I have to justify them, but what I do have to do is sing them with emotional connection as if what I am telling you is really how I feel.  I don’t write songs about Percy the Pig, or Nellie the Elephant, although that song is great to sing to grandchildren if I include all the actions.  I write about feelings.

It thinks me about doing what I do best, and not wishing I was best at something else.  At school I longed to be an athlete but I was so very far from getting beyond ‘ath’ that it would have made a whole heap of sense to do my best, loathe all of it and spend my free time writing.  The problem with writing is that the only time I found the limelight is in English Lit classes and that was providing I kept to the letter of the law concerning Good Composition.  Nowadays, it is fine to write slang, a lot of which has found its way into the Oxford Dictionnary, which is fine if it works for the piece.  It is not ok to swear, but, then, what is swearing now?  I can read words that would have had my school mistress dialling the emergency services had she ever seen such an assemblage of letters in print, let alone heard them read out in class.  The book would have magically disappeared from the Reading Shelf and parents would have been informed.

In songwriting, words can be hinted at, the front or the back of them lost in a rising instrumental.  It’s infuriating for those of us who want to cover a song and we must needs leap to Google for the lyrics, but I am encouraged by the Talented Two that it sometimes really works best that way and that my Elocution Prize might consider staying in my past.  Enunciating every word as if the whole world depended for its survival on my clear conscise rendering of a particular phrase, is, it seems, vanity of vanities.  Who gives a rip?

As I wrote my book, I let go of the Eng Lit teacher, pushed her off my shoulder and reminded her she was most probably dead and should shut up.  Although I love good prose and therefore find bad prose irritating enough to put me off the whole story, I find that I look more for a gentle sway, an easy rise of words that don’t trip me up with their brilliance, but, instead, show me an unfolding about which I am fascinated to know more.  I want to be led outside of myself and into another world and, yet, I still want that pull on my heartstrings, that connection to my own experiences, my own feelings.  When I read the tale of someone who is living through something I hope I will never live through, something that involves the loss of a child, perhaps, I will think about my own children, my love for them, my fears for them, and, in my heart, I will re-affirm my vow to them, the one I made as each one was born, a vow to protect and defend them to the death.  If I read of a world catastrophe, as a back drop to a tale of people, I will re-jig my priorities in that light.  In short, I will make changes because, through the words of another, I am changed.

I hope I can do the same with my songs.  For now, I am playing word games, reducing sentences down, questioning the need for all the adverbs and adjectives to be there at all, for what I can do, through my voice, as long as it is emtionally connected, is to pull back to indicated thoughtfulness, pain, fear, gentleness, or bring the air more forcefully across my vocal chords to show power, anger or determination.  I can leave out the paraphernalia and keep just the crystals……ones that should make it sparkle, if I get the light

just

right.

Island Blog 121 Listen to your ears

12338780-ear-closeup

When I hear something, I hear it.  I may respond distractedly, or with intense concentration.  I may not quite hear it for a few seconds, when a word or phrase yanks me back into the room, back beside the person who spoke and then I will ask them to say it all again.  In domestic situations, taking into account familial or relational baggage, I may find myself in the blast of a dismissive retort.

You never listen to me!  I’m not going to talk to you until you put down that mobile, laptop, dog,book, whatever!  Then follows a doggy-type following around, an apology (if you’re lucky), a plead to say it again, an ‘I AM listening, honest’…….sort of drama, which, if I am very lucky, ends well, although by this time, having pattered about whimpering and wagging my tail, I am so not interested anymore, even supposing whatever I didn’t listen to, on first delivery, could get me to the ball after all.

I have read much on the difference between hearing and listening, and, to be honest, am none the wiser, confusing the two whenever I deliver said difference in an astonishing phrase of pure wisdom.  Nobody has ever corrected me, confirming my suspicions that nobody else gets the difference either.  But I do know how critical it is to listen to what our children say and really hear it.  Really not hearing it is the root beginning of an immense baggage collection, guaranteed foreign holidays for psychiatrists, counsellors and mediums, and establishing once and for all that 90% of our troubles, self-doubts and hangups stem solely from our mother.

But what about those things I hear without actively listening?  Those words far off, lifted at random from another conversation, over there somewhere, that can float all by themselves into my head to settle on a comfy sofa, feet up, just waiting for the chance to rise into my concious mind.  I can read something in a book, or in the poetry of a hymn in church and, without consciously choosing to remember any of it, I find myself looking at it as I wake in the early morning, hearing it anew, and marvelling at the brilliance of my aging brain.  Because our senses are all linked by millions of little byroads, I might watch the movement of the clouds across a darkling sky and find words in my mouth and I don’t mean ‘Wow, look at THAT!’  It might be a line in a letter (does anyone remember the last letter that came through the post, with a stamp, licked by the writer and handed over by Amy the Post?) or it might be a phrase from the book I’m reading, or something someone said, but I don’t remember the time or the context.  Somehow, it fits in with the clouds and the darkling sky and again I am astonished at the incredible majesty of the human brain, even though we only ever tap into about a third of its potential.  Just think what we could do and who we could be, if we only knew how to build a mental motorway or, even just how we might repair the byroads already in place.  But we don’t, despite all that irritating knowledge that highlights our human lack.  Why do we have this immense brain in the first place?

As we grow older we begin, everso gradually, to lose the byroads we do have.  One by one, they give way to sprawling grasses, weeds and foliage that turns a shortcut into a wilderness.  Ok, we know this.  We might not like it much, losing our glasses ten times a day, forgetting an appointment made some time before, leaving the margarine out of the cake, and so on, but it a fact of life and we may as well find the dance in it.

My old granny, long dead but unforgettable, never lost her dance.  When it could no longer be found in her strong and shapely legs, or her long elegant feet, it was there in her eyes for all to see.  In a shop, at a bus stop, in her own little flat, she brought that dance forward at every encounter with every person from the Red Cross collector, shaking her bucket outside the door, to the doctor or the minister, although she was highly suspicious of the minister, to be honest.  Even in hospital, dying, she lifted her smile to every nurse, every orderly without exception, and she was no goody-goody I can tell you, being overly full of mischief and with a keen eye for the caricature.  It was for herself, she danced, not to be seen to be dancing, for she had little care for such vanities.

Listening to my ears is not really possible.  It makes little sense, suggesting that my ears have ears and, with a few large-eared exceptions, this seems an unlikelyhood.  But when my little grandson said it to me this morning as we walked through a lovely wild place, I realised I had heard what he said twice.  First, effortlessly, in the normal way, and then, again, as if I was hearing myself hearing.  It made me realise, as I considered this new phenomenon, that not only is there wisdom, beyond their understanding, falling from the mouths of babes, but that, if I really think it through, this is the only way to live.  If I do practise listening to my ears, I distance myself from an instant response, one that might cause an injury to another’s heart.  Words spoken in haste, fuelled by baggage, can wound and wound deep.  Words written in anger can live for a lifetime and beyond.  But if I can learn to close my trap (oh hallo mother) and to keep my ears (all of them) open, I not only allow words to settle in the sofas of my mind, gently; not only allow the moment to move beyond my clutches, however much my fingers itch to capture and internalise it, but, in those precious moments of mouth closed, ears open, I can hear, albeit distantly, the grace notes floating across the divide and find that my feet take up the dance.