Mostly for historical documentation purposes, plus some philosophy at the end:
In the last 2 weeks since my previous status update, I have:
- Done page layout and editing on Green Island Serenade.
- Completely transcribed Passage from scratch, with editing and page layout done.
- Done page layout and editing on The Atheist Christmas Carol.
- Done page layout and partial editing on Feather Moon (I haven't finished this editing yet).
- Finished transcribing My Medea, then completed its editing and page layout.
- Done page layout and editing on Shasta.
- Done several rounds of editing on Homecoming, still in progress but almost finished, I think.
- Done some minor editing on Harbor. This one has been published before, but there are some minor changes I want to try, to see if Vienna likes them, plus I updated it to the latest sheet music software I'm using (Sibelius 6.2) so it probably looks slightly better visually.
- Done page layout on a version of Mission Street matching the album guitar. It needs editing, I'm sure, but it could be considered either a proof of concept, or even finished. We still might switch this one to piano sheet music depending on what Vienna wants.
The philosophical comment I want to make is this: I'm realizing there is a very good and justifiable reason the editing portion of this project sometimes feels like it is taking forever! When I transcribe these songs, whether from the album, or from live recordings, I write down the notes I hear. My hearing is pretty good, and I've developed tons of good tricks for hearing different instruments, especially piano, out of a recording, but sometimes I don't hear things perfectly. So when I say I'm editing a song, basically what is happening is, it has to pass the "playability" test. I go to the piano, and play through it. If a passage is particularly awkward to sight read, awkward to play, or doesn't fit the pattern of what Vienna usually does in her music, then I must have heard something wrong! There are also times when she played something on the album that's somewhat arbitrary, and live recordings can create an easier, and arguably more accurate version of the song. There are even times when I play something that I think I heard, and it's reasonably easy to play and seems natural, but just doesn't sound right or complete, so I figure out that I missed something. Anyway, all of this takes time, and I never seem to be able to predict when I'll be done, and when something is going to end up in another round of editing, because my standards are continually improving. I think I'm in the last round of editing on Homecoming
before sending it to Vienna for her review. We'll see!