It was a long challenging day of recording. We had some fruitful product by the end.

We started off with something we call “like a real pop song”. It’s actually something that draws inspiration from the early Sting song “Black Seam”, but it is in 10/8 (3+3+4) with an underlying 5/4 pulse that turns the beat every other measure. We did multiple takes, and decided that one of the things that was harder  about recording it was that so much of it was written out.

From there, we turned to something we call “B majory thing”. Ironically, you actually only hear a B major chord in the first measure. It is some of the most interesting and beautiful music on the recording, and I hope we have a usable take.

After several tries, we took a break for lunch and talked over it again. When we came back, we made another attempt, and then turned to a more free tune that we call “Rikud”. This is the Hebrew word for dance. It is much more loosely structured, and as Jonah incisively remarked, “It allows you the freedom to make the mistakes that happen sound more intentional.”

After a few takes, we ended with another relatively simple, clustery passacaglia from Jonah’s brain. We call it, “kind of Messiaen”. It was really beautiful, but it may be a little too long. We may try to make a shorter version tomorrow.

In the end, the project is invigorating and challenging. With such loose conceptions of music, you are essential editing and revising the music under the pressure of the recording process. In a certain sense, performers are always editing and revising what they do. The difference here is that we have to commit to a permanent version. That is difficult because there are always parts of take 1, 2, and 3 that you think are the best.