Category Archive for 'Lessons for Rufus'

Charles Ives contacts Rufus

Monday, February 19th, 2007

[Charles Ives has been granted permission from Rosemary Brown to correspond with Rufus Wainwright and Roger Bourland via instant messaging software. This is a transcript of their correspondence from this morning.]
CI: Hello, hello. Mayday. Do you read me?
RW: Yeah, hi. I’m here. Hello Mr Ives.
CI: Call me Charlie.
RW: You can call [...]

Rosemary Brown contacts Roger from the grave

Sunday, February 18th, 2007

Rosemary Brown at the piano; Franz Liszt looks on.

I was recently contacted by the famous, or infamous British weekend pianist and spiritualist, Rosemary Brown (1916-2001). Rosemary spent much of her life channeling new compositions by a variety of deceased composers including Liszt, Schumann, Beethoven, Debussy, Chopin, Grieg, and famous music writer, Sir Donald Tovey. (For [...]

Lessons for Rufus: Silence, and your new teacher

Tuesday, February 6th, 2007

My Dear Rufus,
Silence is an important compositional element. Pepper it throughout your music and you’ll find it helps the music breathe. Phrases chunk better. Silence can range from complete silence that lasts for just a moment, to a long silence that lets a powerful chord or orchestral stab reverberate throughout the auditorium.
Think carefully about the [...]

Lessons for Rufus: parallel 5ths? Don’t listen to them

Thursday, January 11th, 2007

Rufus,
I overheard some students working on their harmony exercises at the cafe last night. One said “No! You can’t do that; that’s parallel 5ths.” The other sighed in disappointment.
I don’t recall your telling me why you couldn’t tolerate being a music student, but if this is what they were feeding you, I don’t blame you! [...]

Lessons for Rufus: the Contrabassoon

Wednesday, January 10th, 2007

[Scribbled on a postcard with a hand-cancelled French stamp on it]
Cher Rufus,
Knowing you to be the drama queen you are, you must promise me to write for the contrabassoon. It tone is an exotic utterance that is unique in the dark, murky underworld of the orchestra’s bass. There is nothing like it when you want [...]

Lessons for Rufus: the Oboe

Friday, November 3rd, 2006

Hector Berlioz (1803 – 1869), channeled by Roger Bourland

My Dear Rufus,
As I am not falling asleep this evening, I realized I need to tell you about the beauty of the oboe. Oboists can sustain the longest line of any of the wind or brass instruments. For that matter, they can sustain a line longer than [...]

Lessons for Rufus: the value of a great counter-melody

Saturday, October 7th, 2006

A new composition by Prof Berlioz!

My dear Rufus,
Thank you for the postcard from Berlin. I’m happy to hear that you are happy and healthy and musically productive.
I have something I would like you to become extremely sensitive to. I want you to start paying attention to counter-melodies. You already have a great gift for melody, [...]

Lessons for Rufus: Emulating and composing for string orchestra

Thursday, August 31st, 2006

My dear Rufus,
I read with interest that you are including a string quartet in your recent recording sessions. I also have read that you will be producing your next album as well. I hope that soon you will stop relying on others to orchestrate your music as well. The best way to learn how to [...]

Lessons for Rufus: Simple duo for 2 violins

Wednesday, July 26th, 2006

Dear Prof Bz
As you know, I’m on tour in Europe. I’m working on a whole variety of things and incorporating the things you ask me to consider, I’m just having a hard time doing “assignments” you know, I was a terrible student and I guess I still am. Cut to the chase: let me take [...]

Lessons for Rufus: Writing for strings (3) PAGANINI!

Friday, July 7th, 2006

Prof. Berlioz made the mistake of eating a chocolate dessert at dinner time and, like clockwork, woke up at 3 am. It occurs to him that he should introduce his young student to the great violinist, Paganini.
Rufus:
It occurs to me that I can trust you to be advanced enough to throw some spice into the [...]