I’ve been having a great time at this year’s GFA convention in Denver, CO. Many great concerts, vendor’s fair, meeting up with old friends and new, talking about soundboard and Lilypond to everyone who will listen!!
The Charke/Cormier Duo will perform a concert of contemporary works at The Lunenburg Academy of Music Performance on June 4, 2016 at 8:00PM.
The programme is as follows:
Toward the Sea (1981) – Toru Takemitsu
I. The Night
II. Moby Dick
III. Cape Cod
Wired & Released (2013) – Derek Charke
Musiques Populaires Brésiliennes (1988) – Celso Machado
I. Paçoca (Choro)
II. Quebra Queixo (Choro)
III. Piazza Vittorio (Choro Maxixe)
IV. Algodão Doce (Samba)
V. Sambossa (Bossa Nova)
VI. Pé de Moleque (Samba Choro)
~ ~ Intermission ~ ~
The Engine Continuum (2013) – Derek Charke
Ex Tempore (2016) – Derek Charke
Histoire du Tango (1986) – Astor Piazzolla
I. Bordell – 1900
II. Café – 1930
III. Nightclub – 1960
IV. Concert d’aujourd’hui
Derek and I will be performing a guitar/flute duo concert on Wednesday, Dec 9 2015 in the Manning Memorial Chapel on the Acadia campus. We will be performing a varied recital including hits from: Piazzolla, Handel, Jacques Ibert, Villa-Lobos, and a world premiere from Derek Charke himself! An event not to be missing in a gorgeous concert hall setting (Manning Memorial Chapel).
And (2nd mvt. from Wired and Released) Derek Charke
Entr’ Acte Jacques Ibert
Distribuçào De Flôres Heitor Villa-Lobos
Sonata in A minor Georg Friedric Handel
The Engine Continuum (world premiere) Derek Charke
Histoire Du Tango Astor Piazzolla
1. Bordel 1900
2. Café 1930
3. NIghtclub 1960
4. Concert d’aujourd’hui
I’ve been holding off making this announcement, but I’m going to go ahead and post it: I am now the musical engraver for the magazines “Soundboard” & “Soundboard Scholar”!
A few years back I became a member of the Guitar Foundation of America and from that time forward I was thinking about how I could contribute to the GFA. My answer came as a combination of my specific talents and knowledge. Who better to typeset music and musical excerpts than a guy who’s taught rudiments and music technology? Combine that with a deep love of the guitar, aesthetics of scoring, and a complete computer nerd and you’ve got me in a nutshell.
I’ve submitted all the scores for the next issue of Soundboard and am now just doing some work on Soundboard Scholar. How am I doing this typesetting? Open source of course… I’m using Lilypond as the vehicle to typeset. Unlike other notation programs like Finale/Sibelius it is rules based and it creates the layouts itself (everything right down to the arch of a slur and how far the end points are from noteheads). I’ve spent the last 6 months working on my own ‘house rules’ and creating a cheat sheet for classical guitar. I believe the result to be something truly special.
All this has happened while I quietly launched a new link in this site’s menu called ‘Stella Pulvis’ (Ok so I’m not only a computer/guitar geek, but also a space guy…. the name is Latin meaning ‘space dust’, from a famous Carl Sagan quote). ‘Stella’ is my freelance typesetting service. I’ve already been very busy with 10+ scores this summer. Since Lilypond is open source software and free, I will donate part of any income I make from this endeavor back to the developers of the software as my little thank you to them.
I’ll be posting examples of the notation here soon under the ‘Stella’ link, and I encourage you to take a look when they appear and if you like my work and have something you’d like notated, get in touch!
I’m quite busy practicing these days and I have a couple of exciting projects to share with you:
1. I’ve been working with our school’s composition/flute prof, Derek Charke, putting together a concert of Classical Guitar and Flute music. So far we’ve chosen to perform a set of pieces by Celso Machado, Histoire du Tango by Piazzolla, and I’m working on my continuo chops on Bach’s Flute Sonata (BWV 1034). Should be a really great concert! (I’m always amazed at the guitar writing of Piazzolla, for a non guitarist he sure knew how to toe the line of unplayable without going over!!)
2. I’m preparing two pieces of Shawn Bell, Currents I & II, for recording. I performed Currents II many years ago and loved the piece so it’s nice to revisit it with a bit more wisdom. It’s my first time working on Currents I and I have to say that this is another of Shawn’s gems! It shares similar rhytmic pulses and harmony with Currents II, but has a very different feel overall. You can now purchase Shawn’s pieces from D’Oz for the first time here:
These are really great guitar works, and I’m so happy that Shawn has finally published them officially!
So I get a week off, and what really needs to be done?!? I’ve been noticing the deterioration of my massive, 200+, DVD collection which contains ALL my former concerts, ensembles, studio recitals, grad recitals etc…
This of course is very precious to me and maintaining my data/media is always a balance of: newest and greatest way, good compression, high quality audio and video, longevity, and last but not least convenience.
For a long time now, the best option for me has been a transfer to the DVD format, and I have well over 200+ DVD vids of our concerts. I’ve been watching video codecs with hope, and finally with h264 and aac I have to say it really is incredible quality at a highly compressed bitrate.
So with the h264 (x264 in linux) codec (the video/size ratio is very good) and my dying DVDs, I decided to get this done, and I’ve learnt a few key commands that I’d like to share with whoever will listen. I’ll break it into steps:
1) Getting the info off the disc
Since these are all personal discs, a conversation about libdvdcss as it’s not needed. There are two good ways of doing this (the former is quicker, while the latter is far better at regaining lost data
ddrescue works really well if there are no/few problems with the disc (free from scratches):
dd_rescue -n -b 2048 /dev/cdrom dvd.iso
dd can be brutally slow, but gets everything:
dd if=/dev/cdrom of=dvd.iso conv=noerror,sync
2) joining VOBs
There are two ways to do this too. I’ll give the most logical and easiest first although I notice no difference at all between the two.
cat VTS_01_1.VOB VTS_01_2.VOB VTS_01_3.VOB > combined.vob
use ffmpeg (you need 1.1 or newer for concat):
ffmpeg -i concat:VTS_01_1.VOB\|VTS_01_2.VOB\|VTS_01_3.VOB -c copy combined.vob
One neat thing about the ffmpeg command is you can include everything else and come up with a finished product like:
ffmpeg -i concat:VTS_01_1.VOB\|VTS_01_2.VOB\|VTS_01_3.VOB -c:v libx264 -crf 23 -c:a libfaac -ac 2 -ab 192k finished-video.mp4
3) Encoding video
I use ffmpeg for this:
ffmpeg -i combined.vob -c:v libx264 -crf 23 -c:a libfaac -ac 2 -ab 192k test.mp4
to break this last example down:
-i combined.vob -> is the concatted vob file
-c:v libx264 -> this is the codec (x264)
-crf 23 -> this is how you set the constant quality, a lower number means higher quality, bigger file
-c:a libfaac -> audio codec (faac)
-ac 2 -> stereo sound (channels = 2)
-ab 192k -> the audio bitrate, higher is better/bigger
and that’s pretty much it. For a 1 hour concert at 720p I’m getting about a 500-600mb file which is really good, and I’m using all open source software. I’m plowing through these videos, getting them backed up and safe. As soon as I complete this, the next stage is to run out to pick up a new 2TB HD, copy the files to that and move them offsite (just in case the house burns down…. you can NEVER be too safe with your data!
I like the quote:
“There are two types of people in this world, those who have lost data, and those who are going to lose data”
Shattering the Silence, Acadia’s New Music Festival starts next week and the guitar department will be well represented. The Acadia guitar quartet is going to play Philip Glass’ 3rd String Quartet (Mishima), Leo Brouwer’s Cuban Landscape With Rain & a brand new piece from Martin Campbell (Acadia composition student) called ‘Perspectives’.
It should be a great series. See the following link for more information: