Susan Maughlin Wood

Composer for Concert Music and Media

Welcome. The music in my head gets out on occasion. Answers to Punchy; can be lured with stories.

UPCOMING: December 6 and 7 Cascadian Chorale performs Consolatus lux along with other sources of winter light in Angel in the Snow concert.

Gutsy Player

A year ago I fell headlong into learning how to play the violin. Odd as it might seem, given what I do, I’d never actually even touched one before then. I’d made a brief personal acquaintance with the string family sometime in the ’90’s; I'd bought a beat-up cello with vague structural problems that I kept around just for a bit but I didn't have the resources to fix whatever was wrong with the neck, so I never got emotionally invested, nor the least bit serious about learning on a faulty instrument. Skip to a year ago and my daughter was embarking on the school instrument program that starts in 4th grade. She picked viola. I hooked my elbow into hers and picked violin, so that we could learn together.

We were lucky to find a caring teacher both vastly experienced and yet energetic enough to inspire. My daughter has been dutifully going through her books (motivated by the prospect of demonstrating enough responsibility to finally get that potential puppy we’ve been talking about forever.) I, on the other hand, have forged ahead like a bull in a Stradivarius shop, jumping all over the place, to the amusement and partial vexing of the teacher, who just isn’t quite sure what to do with me. My purpose in learning is partly to see what is most practical and fun to do on the instrument in order to better write for it, both solo and orchestral. Wanting to avoid the trap of subconsciously limiting my writing to what I myself can play, I’m trying to quickly absorb bits and pieces of various techniques just to remember that they are out there. Pizzicato, harmonics, double stops, unisons, spiccato, alongside the ubiquitous détaché.

I really did have trial by fire with this, being thrown in with two other adult learners to form the Valiant Trio for last spring’s recital. To get there, we sightread probably a dozen pieces to choose our favorites to work on. Simply keeping up was a miracle. We got through both a soirée and a recital playing from three stylistic periods and had a very warm reception. After that, it was time for me to get back to actually buckle down and improve my bowing. A piano background serves me pretty well in the left hand dexterity, but the bow is another beast altogether. I’ve just joined a community orchestra and the “second string” group is exactly where I should be, highly challenging but entirely doable.

My first lesson was on September 16 a year ago. When the anniversary rolled around I got a bit obsessive about capturing my progress to this point. The thing about recording, though, is that it shows you exactly where you need to fix things. So I would no sooner record something than have to record it again, but better. At some point I have to stop and freeze the frame, though, so gahhhh here it is. 

(**I did record some video, but I found the video element a little too much at once, too distracting. Plus, I have a cold. So I ended up recording audio, and the videos are for my own consumption for now, and mostly for bowing improvement.) 

https://www.youtube.com/watch?v=K6wIa5CA88k

*changed my mind and added a video: https://www.youtube.com/watch?v=0tKACLijHUQ

Twitches in Anticipation

An old song of mine, "Chameleon," is getting a lot of sudden attention, and I wish I knew what prompted it. Out of the ten songs on the album, this particular track is one of the more highly produced, with the most straightforward lyrics, so I suppose it makes sense in terms of commercial viability. There are other songs, though, that I want to brush off and say "Hey! Look at this pretty one! It's introspective and sensitive and lovely!" But anyway, something has picked it up and looked at it and other things are noticing and also looking at it, seemingly out of nowhere. I'm getting lots of NOI's for this one song (Notice of Intent to License) and so far it is not translating into concrete $ language in my account but it sure is entertaining and fun to speculate. There is apparently some streaming going on. Side note: I have a sudden urge to travel to Luxembourg. Apparently they love me!

NDAs that go both ways

At first, it was a very odd feeling to need to sign a non-disclosure agreement about projects I was working on. The pain of having all of this music I'm super extra proud of and want to share, that I cannot. I acclimated about as much I could, though. Projects started to collect, as they do. Some of them have gone into hibernation, some have changed, one has actually died. Some are moving. Now the shoe is on both feet at the same time, as I send out my own little NDA for collaborators. The waiting IS the hardest part.

Congratulations to the winners

I'm constantly being thrown curveballs in this industry. I was asked to be on the SCA jury to award an original score prize to a feature and a short film for the 17th annual Local Sightings Film Festival at Northwest Film Forum. I'm so glad I overcame my initial reluctance because I otherwise wouldn't have had the opportunity to watch such an amazing scope and variety of work among the eight features and 18 shorts, give or take, that my colleagues and I screened. Congratulations to Daryl Bennett for "The Exhibition" and Melody Loveless for "Maureen." People don't often realize how crucial the underscore is in the success of the overall film, so it's really gratifying to be able to recognize and reward such excellence. Bravo.

James Richter and Susan Maughlin Wood of Seattle Composers Alliance

James Richter and Susan Maughlin Wood of Seattle Composers Alliance