How to be Creative with F: 13 Ways to Flip and Spin it
‘F’ a vehicle of expression featured in this newsletter collection goes to extremes trying to stump a composer, an industrious character with authentic works to build his story upon.
The composer is no longer metaphorical at this stage after The Impossible Mission One Person Cannot Quit is a functional part of his history.
This is the first of fourteen articles (20 “smart reader” points)
Points are merely theoretical and the secret key (worth a bonus of twenty) the most valuable asset for facing ‘F’ is found in previous article three .
Only those who share and work together will have an advantage because quitting is the ultimate dissonance.
The relationship between F and its collaborator is a quirky symbiosis bringing about music never before accomplished - The TW Suite by L. R. Lane.
Its evolution is reported in the newsletters 2–14 to follow.
A phrase in italics, embedded in the text of each one is part of the revelation and anyone able to put it all together is one step from the highest level in this series just by knowing the unquestionable fact worth 280 “smart reader” points.
F the variable.
It fits in anywhere there is emotion (its forte) and since music is great for amplifying experiences F has a major role because above all else it must remain part of the flame and avoid the fizzle.
Everyone is the same. We have to grow and learn what makes the biggest difference to us.
Starting with how young children not knowing the scope of life ahead typically respond,” athlete, policeman, teacher or ballerina” to the question “What do you want to be when you grow up?” corresponding music would be the simple song Twinkle, Twinkle Little Star (for example) with F not showing up yet.
However, the composer and the dancer (his wife) collaborating as a creative arts duo composing, writing and producing performance art works encounter F continuously in their future years of development.
It influences everything - no more “twinkle twinkle” and always brings bumps, pitfalls and eyeopeners into anything to do with their professional work .
The special chemistry must grow stronger despite the weak infrastructure of a community façade — The Arts Center in which it is immersed.
Building a theater performance work titled All in a Day’s Dance by L. R. Lane is really the only option (which some might think of as a creative outlet), but nevertheless there is a hidden agenda at The Arts Center defining itself as a developing ballet program.
It is in fact merely a recreational facility with plenty more hidden factors in the surrounding arts grant programs influencing it — a mockery of anything based on fundamentals of refinement and discipline.
The script then must be flipped because it is burdened with numerous variables of difficulty. Therefore defining it as one letter (F) is the most prudent means of tackling the situation and it is a heavy impact on the musician/composer’s creativity.
- Everything subsequently is all about the internet and only music in digital form can go the distance.
- The first adjustment calls for a website devoted to marketing and promotion.
- Music composition, recording, production and distribution.
- Literary creation and publication.
- Graphics and web development.
- Copyright registration.
- Finances.
- Resources for promotion.
The antagonistic Farrago emerges from the process and becomes a major influence in the story. He is unrefined making nothing easy and allows nothing to be taken for granted. His role laid out in a virtual pavilion of music and literature links provides a variety of ways to browse for the fun of it on the website he so proudly loves starring in.
All in a Day’s Dance, although it does not award smart reader points for visiting, verifies the authenticity of this newsletter subject.
The floodgates eventually open allowing social media and music to stream freely with swells and unpredictable currents to test The TW Suite by L. R. Lane and its story. At this point it is annoyingly clear that nobody ever really extricates F from the continuous series of adjustments in the wall of resistance when an unparalleled project like this one sets sail.
A formidable situation faces the musician/composer.
The twinkling little star - just a demand for a practical vision requiring yet another flip needs textures and timbres for new music to open up a broadening range for encompassing even the simplest expressions.
The sound has to be original and genuine just to give the first literature/music invention of its kind a chance. Violins, guitars, drums, percussion and even the piano being played virtually to complete the suite are under a contemporary style of pressure due in large part to everything being fictitious.
The excursion of F — a guide through the music of The TW Suite by L.R. Lane.
Only one way out of the bubble to solve the F ontological riddle seems impossible with a terpsichorean twist on how to level a farraginous playing field.
- It means the only logical alternative is to give F a new spin and make everything intangible about it worthy of new music.
- The composer’s task is to come up with the right music for the right situation.
- Thinking is the name of the game.
1) Look at the letter jumble.
2) If there is a solution, it is a puzzle. Without one — it’s just a mess. Remove the letter F’s then think about what is left.
Like the letter jumble the newsletters describe a relationship that starts off being a farrago of circumstances to be resolved and music is the only thing keeping the relationship from falling into oblivion.
- However, the influencing ingredient F holds a special power and without it there is no music.
- It changes the key at every entrance.
- The one that opens the suite also closes it.
With every variation (spin) see how new music comes in then find a key phrase.
Newsletter two begins the excursion of ‘F’.
