I'm about to record the first music of step 1. I feel quite excited and I'm severely motivated. I'll start with the soprano saxophone and I will at least record something on the oboe too. Then we'll see.
Recorded a moment ago. First, I played the oboe, actually. It developed into something dreaming, classical, like Oregon, though with a goldenbronzegrey tone. Then, I turned to the sax. As expected, the sound was more rough. I let loose after a while. Found a beat. I actually sought a groove on the sax, since it would be the instrument with which I most easily could create housenu:jazzelectronica. I think I created some nice material. Some avantgardistic. I probably found some interesting chord progressions.
Then, I played the nyckelharpa. At first, it was just dull folk music, then deeper groove, then a beautiful, light melody. Then a strange chord progression in a loop that was absolutely wonderful to play.
Then, the melodicon, this wonderful instrument. Lovely harmonies, the melodicon played by itself. Sea- and harbourmusic. It sounds better than I can play.
Then the low whistle, but that was boring. I felt very tired of the instrument's expression. I endulged myself in flageolets like a maniac. Then, eager, revolving, beating, notes; fast, arpeggion standing still, which I'm so fond of. I'm quite close to extacy playing that. In the end, I wanted to shout and hit things around me with the whistle, just to break free from the low whistle sound.
Now I'm about to edit the material.
I listened to the oboe and the sax and halv of the nyckelharpa. I made parts out of every event, referring to Karin's sketces. I coloured the parts according to which sketch that was played.
From the recordings of the different instruments, I picked the one recording of every sketch that I liked the most. One nyckelharpa, one oboe, one sax, one melodicon. I simply arranged the melodicon- and sax-recordings and added a drumloop here, a xylophone there and the occasional Rhodes.
Late this evening, I mailed six mp3s to Karin.