I have just added a page on bicemusic.com for Disparate Influences for flute, clarinet, bassoon, horn, trumpet, violin and cello. I originally composed this piece in 2001 for a different ensemble: clarinet, alto saxophone, trumpet and trombone. At the time there were four movements. When I set out to revise this piece in 2004 I threw out three of the four movements keeping the first movement.
On this page is a link to the PDF version of the score and a recording from the premiere performance on April 15, 2005 to which you can listen online. You can access this page under the compositions tab or by clicking here: http://bicemusic.com/?page_id=382
Monday, May 30, 2011
Listening Journal: May 23-29, 2011
Tristan Murail - Unanswered Question (1995) for flute
Horatiu Radulescu - Lux Animae (2000) for viola
Olivier Messiaen - Couleurs de la Cité Céleste (1963) for piano, 3 clarinets, 3 xylophones and brass orchestra with metal percussion instruments
Iannis Xenakis - Phelgra (1975) for chamber orchestra
Iannis Xenakis - Plektó (1993) for flute, clarinet, percussion, piano, violin and cello
Alban Berg - Altenberg Lieder, op. 4 (1912) for soprano and orchestra
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To order mp3 album from Amazon.com click here: Messiaen: Des Canyons aux étoiles, Oiseaux exotiques, Couleurs de la cité céleste
Horatiu Radulescu - Lux Animae (2000) for viola
Olivier Messiaen - Couleurs de la Cité Céleste (1963) for piano, 3 clarinets, 3 xylophones and brass orchestra with metal percussion instruments
Iannis Xenakis - Phelgra (1975) for chamber orchestra
Iannis Xenakis - Plektó (1993) for flute, clarinet, percussion, piano, violin and cello
Alban Berg - Altenberg Lieder, op. 4 (1912) for soprano and orchestra
Click image to order CD from Amazon.com
To order mp3 album from Amazon.com click here: Messiaen: Des Canyons aux étoiles, Oiseaux exotiques, Couleurs de la cité céleste
Sunday, May 29, 2011
bicemusic.com: Site update
Lately I have been looking at my composition website: bicemusic.com. Mostly I have been looking at which compositions have pages and what information is missing from those pages. Right now there are fourteen composition pages. This means that there are still twenty-seven pages to create and post before my entire catalogue is available. This number does include current projects. All of my completed solo instrumental, collaborations and wind ensemble pieces have pages. The bulk of the "missing" pages are under the chamber music category as there are currently only two pieces with pages.
In order to fill in the gaps my goal will be to post at least two new pages each week. This will include all information, score and recording (if available). I will post updates on added pages as they are finished.
In order to fill in the gaps my goal will be to post at least two new pages each week. This will include all information, score and recording (if available). I will post updates on added pages as they are finished.
Saturday, May 28, 2011
bicemusic.com: Page added - Yesterday, Today & Tomorrow
A new page has been added to my composition website bicemusic.com. This page features my trombone quartet Yesterday, Today & Tomorrow which I composed in 1999. On this page you will find the program notes, performance history and a recording to which you can listen online.
You can access this page on bicemusic.com by click the Compositions header and clicking the link to the page under the Chamber Music section. Otherwise you can click on the following link: Yesterday, Today & Tomorrow.
You can access this page on bicemusic.com by click the Compositions header and clicking the link to the page under the Chamber Music section. Otherwise you can click on the following link: Yesterday, Today & Tomorrow.
Wrapping up the intro
Yesterday, I finished composing the introductory section of Flit. This section consists of twenty-two measures and sets up the thematic and some of the harmonic language to be used in this flute piece. I even composed out a transitional bridge of six measures that leads into the next section of the piece.
With just over a minute's worth of music completed I feel as if this piece is coming together nicely. My goal is to have this piece completed within three weeks so that I can send it to Greer Ellison and give her enough time to learn the piece before the August 13, 2011 concert of the Festival of Contemporary Music. Otherwise I will need to find a different piece to program soon.
With just over a minute's worth of music completed I feel as if this piece is coming together nicely. My goal is to have this piece completed within three weeks so that I can send it to Greer Ellison and give her enough time to learn the piece before the August 13, 2011 concert of the Festival of Contemporary Music. Otherwise I will need to find a different piece to program soon.
Thursday, May 26, 2011
Opening Strong
Yesterday I sat down and composed the first fourteen measures of Flit for flute. When I started to work on this piece again I really thought about my concept of the piece. What did I want it to convey? What is the spirit of the piece? When I think of the words flit or flitter I think about birds. In particular hummingbirds and how they would suddenly change direction in flight or stop and hover. This is similar to the spirit of what I am trying to capture. I am not trying to create the imagery of hummingbirds, rather essence or lightness of their mannerisms.
With this concept in mind, I took another look at the sketches I had created and arranged fragments in various combinations. This process focused on the motives that encapsulated the concept I wanted. The piece starts off with some short figures connected to long notes. I did not want too many notes at the beginning, My intent is to build upon the motivic and harmonic material over time.
I am happy with the start of the opening section. The figuration is a little more thought out and will hopefully lend itself to better development over time.
With this concept in mind, I took another look at the sketches I had created and arranged fragments in various combinations. This process focused on the motives that encapsulated the concept I wanted. The piece starts off with some short figures connected to long notes. I did not want too many notes at the beginning, My intent is to build upon the motivic and harmonic material over time.
I am happy with the start of the opening section. The figuration is a little more thought out and will hopefully lend itself to better development over time.
Upcoming Performance: Night Sky - May 31, 2011
On Tuesday, May 31, 2011 at 7:00 p.m. the concert band at Joaquin Moraga Intermediate School conducted by Adam Noel will premiere Brian Bice's Night Sky. The program will also include Joseph Compello's Gypsy Dance, an abridged arrangement of Schubert's Unfinished Symphony, a medley from Les Miserables and Corsage for Winds by John Cacavas.
Night Sky was commissioned by Adam Noel for the Joaquin Moraga Intermediate School Concert Band. This piece is Brian Bice's first journey back to composing wind ensemble music since he composed Homage in 1999.
Night Sky was commissioned by Adam Noel for the Joaquin Moraga Intermediate School Concert Band. This piece is Brian Bice's first journey back to composing wind ensemble music since he composed Homage in 1999.
Wednesday, May 25, 2011
Composing Session: May 24, 2011
I spent some time on Tuesday trying a different approach to Flit. While is was my anniversary I found myself with about an hour of free time. So I decided to work on a couple of things. The approach I took this time was more lyrical. There was a flute theme I dropped from Time in Memoriam that I thought I would like to try to expand. I composed a four measure introduction and then moved into the melody. The only issue I have with this melody is that I keep hearing it in my head as I had it orchestrated. I am having a hard time hearing it as a solo melody.
While the lyrical approach was a good way to look at this piece, I feel like it does not capture my intent as an opening. It is likely that I will use this lyrical material later on. I do think that this piece will need a slower, more lyrical section. I have not yet decided if Flit will be a single-movement or a multi-movement piece. Nevertheless there will be a couple of distinct sections.
While the lyrical approach was a good way to look at this piece, I feel like it does not capture my intent as an opening. It is likely that I will use this lyrical material later on. I do think that this piece will need a slower, more lyrical section. I have not yet decided if Flit will be a single-movement or a multi-movement piece. Nevertheless there will be a couple of distinct sections.
Trackings No. 2 - score completed
About ten days ago on Saturday, May 14, 2011 I finished editing the complete score for Trackings No. 2 for cello, double bass and piano. In this process I edited the six movements for consistency of dynamic and expression placement, articulations and other performance data.
I am interested to see the photos Micheal Vickers creates to go along with the music I have composed. I have seen a couple of the images, but not too many. The goal for this piece will be to schedule the premiere for Spring or Summer of 2012.
I am interested to see the photos Micheal Vickers creates to go along with the music I have composed. I have seen a couple of the images, but not too many. The goal for this piece will be to schedule the premiere for Spring or Summer of 2012.
Rehearsal Blog: Night Sky - May 25, 2011
Today I went to Joaquin Moraga Intermediate School in Moraga, CA for a rehearsal with the concert band for my piece Night Sky. This was a very interesting experience. As a composer I have not worked with performers of this age group. I did not know what to expect. I did enjoy watching my friend Adam Noel lead the rehearsal. Though we were classmates as undergraduates, it was the first time that I got to watch him conduct.
I feel as if the group is doing a good job with my piece. They seem to have the notes down, so most of my comments were directed towards the group playing as an ensemble. Playing together as a group can be difficult at any level. This group seems a little ways off in this department. This is something that will be learned as they gain more experience. With some more rehearsal over the next week I believe that the piece will sound good at the concert. I am definitely looking forward to the concert.
I feel as if the group is doing a good job with my piece. They seem to have the notes down, so most of my comments were directed towards the group playing as an ensemble. Playing together as a group can be difficult at any level. This group seems a little ways off in this department. This is something that will be learned as they gain more experience. With some more rehearsal over the next week I believe that the piece will sound good at the concert. I am definitely looking forward to the concert.
Tuesday, May 24, 2011
Taking a step back
The other day I wrote about my new flute piece titled Flit. I think I may have put the cart before the horse when I talked about the light and quick nature of the motivic and thematic ideas. As I am trying to work them out I am finding it more and more difficult to continue and develop these thoughts in a fluid and coherent manner. I have decided to take a step back and look at this piece from different angles. I am not necessarily abandoning the light and quick concept. Rather I do not want to back myself into a corner that is hard for me to get out of. One option I am considering is to start with some slower, lyrical material building into the light and quick motives.
Listening Journal: May 16-22, 2011
Kaija Saariaho - L'Aile du Songe (2001) for flute and orchestra
Kevin Hanlon - Second Childhood (1977) for chamber orchestra
Kaija Saariaho - Caliban's Dream (1993) for baritone and chamber ensemble
Anton Webern - Entflieht auf leichten Kähnen, op. 2 (1908) for choir
Milton Babbitt - Post-Partitions (1966) for piano
Anton Webern - Drei Volkstexte, op. 17 (1924) for voice and three instruments
Kevin Hanlon - Second Childhood (1977) for chamber orchestra
Kaija Saariaho - Caliban's Dream (1993) for baritone and chamber ensemble
Anton Webern - Entflieht auf leichten Kähnen, op. 2 (1908) for choir
Milton Babbitt - Post-Partitions (1966) for piano
Anton Webern - Drei Volkstexte, op. 17 (1924) for voice and three instruments
Happy Anniversary, Melissa!!!
Three years ago today I married the love of my life. I am thankful everyday that we are together. The road ahead will be filled with challenges and potholes, but I know I can make it through with my wife by my side.
Happy Third Anniversary to my beautiful, pregnant wife. I love you.
Happy Third Anniversary to my beautiful, pregnant wife. I love you.
Saturday, May 21, 2011
Night Sky rehearsal session
On Wednesday, May 25, 2011 I will be working with the concert band at Joaquin Moraga Intermediate School. We will be working on my piece Night Sky which they will premiere on May 31, 2011.
I am looking forward to this because it will be the first time I get to hear this piece performed. My goal in this rehearsal session is to help fine tune the group's performance of my piece. Based on what I have heard from the director, Adam Noel, the kids are doing a good job with this piece. Hopefully I can add a little something to the performance.
I am looking forward to this because it will be the first time I get to hear this piece performed. My goal in this rehearsal session is to help fine tune the group's performance of my piece. Based on what I have heard from the director, Adam Noel, the kids are doing a good job with this piece. Hopefully I can add a little something to the performance.
Listening Journal: May 9-15, 2011
Billy Joel - Air (Dublinesque), op. 10 (2001) for piano
György Ligeti - Études pour Piano, Book 3, No. 16 "Pour Irina" (1997)
György Ligeti - Études pour Piano, Book 3, No. 17 "Á Bout De Souffle" (1998)
György Ligeti - Études pour Piano, Book 3, No. 18 "Canon" (2001)
Dmitri Shostakovich - Quartet for Piano and Strings, op. 57 (1940)
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György Ligeti - Études pour Piano, Book 3, No. 16 "Pour Irina" (1997)
György Ligeti - Études pour Piano, Book 3, No. 17 "Á Bout De Souffle" (1998)
György Ligeti - Études pour Piano, Book 3, No. 18 "Canon" (2001)
Dmitri Shostakovich - Quartet for Piano and Strings, op. 57 (1940)
Click image to order CD from Amazon.com
To download MP3 album from Amazon.com click: Shostakovich / Schnittke: Piano Quintets
Monday, May 16, 2011
Beginning a new piece
On Saturday I began work on a new piece. I am composing this piece for Greer Ellison, a flautist who lives in the San Francisco Bay Area. I met Greer a couple of years ago when I composed Shadows of Dreams for the flute ensemble she conducts at the University of California at Santa Cruz. The title of the piece is Flit and will be for solo flute. I chose this title because of the light and quick nature of some of the motivic and thematic ideas I began to work with.
Starting a new piece is always fun. There are so many possibilities for the piece. There are lots of new ideas to try and old ideas to develop in a different way. My hope is that this piece will come together more easily than Time in Memoriam. That was a piece that underwent a few formal revisions before growing into its final form.
I am looking forward to getting into this piece. This is definitely a more intimate piece opposed to the couple of wind ensemble pieces I have composed recently.
Starting a new piece is always fun. There are so many possibilities for the piece. There are lots of new ideas to try and old ideas to develop in a different way. My hope is that this piece will come together more easily than Time in Memoriam. That was a piece that underwent a few formal revisions before growing into its final form.
I am looking forward to getting into this piece. This is definitely a more intimate piece opposed to the couple of wind ensemble pieces I have composed recently.
Saturday, May 14, 2011
Trackings No. 2, movement 5 - score completed
On Wednesday I completed the 5th movement of Trackings No. 2 for cello, double bass and piano. The title of this movement is Dream. In this movement I worked with disjunct themes and ideas. I tied them together with an underlying harmonic progression.
With the completion of the 5th movement this means that all six movements of Trackings No. 2 are complete. At this time the only thing left to do is to edit the score in its entirety. All of the movements are in one file, I just need to edit the six movements to make sure the formatting is consistent.
Over the next few weeks I will be shopping the piece around trying to see if there is interest in it. I am not going to limit my search to cello, double bass and piano performers. I will check out piano trios and if I need to re-orchestrate the piece then so be it.
With the completion of the 5th movement this means that all six movements of Trackings No. 2 are complete. At this time the only thing left to do is to edit the score in its entirety. All of the movements are in one file, I just need to edit the six movements to make sure the formatting is consistent.
Over the next few weeks I will be shopping the piece around trying to see if there is interest in it. I am not going to limit my search to cello, double bass and piano performers. I will check out piano trios and if I need to re-orchestrate the piece then so be it.
Feasibility of Performance
As I have been working on Trackings No. 2 I have been thinking about the ensemble. This piece is composed for cello, double bass and piano. This is an uncommon ensemble and I have been wondering is it the right ensemble? Like all composers my hope is that this piece will receive multiple performances. With this instrumentation I wonder about that. The thought of changing the instrumentation has crossed my mind, but to what?
I guess I could re-score it for a piano trio of either violin, cello and piano or clarinet, cello or piano. Neither of these ensembles really excite me for this piece. After some deliberation I wonder should I really care? I mean of course I want this piece to be performed, but the instrumentation is not too off-the-wall. I figure I will leave it as a cello, double bass and piano piece for now.
I am not ruling out any instrumentation changes. I am just saying that right now I do not feel it necessary to take the time to make the changes. However, if a performance opportunity arises for a different instrumentation that would work for this piece, then I will change the instrumentation.
I guess I could re-score it for a piano trio of either violin, cello and piano or clarinet, cello or piano. Neither of these ensembles really excite me for this piece. After some deliberation I wonder should I really care? I mean of course I want this piece to be performed, but the instrumentation is not too off-the-wall. I figure I will leave it as a cello, double bass and piano piece for now.
I am not ruling out any instrumentation changes. I am just saying that right now I do not feel it necessary to take the time to make the changes. However, if a performance opportunity arises for a different instrumentation that would work for this piece, then I will change the instrumentation.
Blogger issues
The past couple of times I have tried to long into Blogger it has been unavailable. Not to worry, Blogger is back and I have a couple of posts from the past few days I can finally add later today.
Brian
Brian
Monday, May 9, 2011
Trackings No. 2, movement 3 - score completed
Today I completed the 3rd movement of Trackings No. 2 for cello, double bass and piano. As I mentioned in an earlier post I opted to scratch the original sketch in favor of another sketch. This new sketch came together easily. I tried a couple of different orchestrations prior to settling on the grouping of cello and piano right hand and double bass with piano left hand.
Now that the 3rd movement is completed all that remains is the 5th movement. My goal is to complete that movement in the next week or two. I have already sent the score and MIDI realization of the 3rd movement to Micheal Vickers via email.
Now that the 3rd movement is completed all that remains is the 5th movement. My goal is to complete that movement in the next week or two. I have already sent the score and MIDI realization of the 3rd movement to Micheal Vickers via email.
Listening Journal: May 2-8, 2011
George Crumb - Gnomic Variations (1981) for piano
Jukka Tiensuu - Arsenic and Old Lace (1996) for string quartet and harpsichord
Kaija Saariaho - Tag des Jahres (2006) for choir and electronics
Karol Szymanowski - Symphonies Nos. 2 & 4 - CD
Symphony No. 2, op. 19 (1910)
Symphony No. 4, Symphonie Concertante, op. 60 (1932)
Olivier Messiaen - La Transfiguration de Notre Seigneur Jésus-Christ - CD #2
Second Septenary (1969) for mixed choir, seven instrumental soloists and large orchestra
Esa-Pekka Salonen - LA Variations (1997) for orchestra
Harrison Birtwistle - Gawain's Journey (1991) for orchestra
Karlheinz Stockhausen - Klavierstücke, piece XI (version 2) (1956) for piano
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Jukka Tiensuu - Arsenic and Old Lace (1996) for string quartet and harpsichord
Kaija Saariaho - Tag des Jahres (2006) for choir and electronics
Karol Szymanowski - Symphonies Nos. 2 & 4 - CD
Symphony No. 2, op. 19 (1910)
Symphony No. 4, Symphonie Concertante, op. 60 (1932)
Olivier Messiaen - La Transfiguration de Notre Seigneur Jésus-Christ - CD #2
Second Septenary (1969) for mixed choir, seven instrumental soloists and large orchestra
Esa-Pekka Salonen - LA Variations (1997) for orchestra
Harrison Birtwistle - Gawain's Journey (1991) for orchestra
Karlheinz Stockhausen - Klavierstücke, piece XI (version 2) (1956) for piano
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Scraping a sketch
Today I sat down to work on the 3rd movement of Trackings No. 2. This piece is in collaboration with photographer Micheal Vickers. Originally the sketch for this movement focused a lot on natural harmonics. I had kept this in because I thought it would make for an interesting and colorful movement. After spending some time with it today, I realized that it was not worth keeping. I did not care for the harmonic world I created.
Sure, I could have salvaged some of the material and made it better. I thought about it, but decided it was not worth my time. Instead, I decided to bring back the sketch that was going to be the final movement until I decided to end the piece is a different style.
I think this other sketch will allow me to create some good, contrasting material to the movements that will be around it.
Sure, I could have salvaged some of the material and made it better. I thought about it, but decided it was not worth my time. Instead, I decided to bring back the sketch that was going to be the final movement until I decided to end the piece is a different style.
I think this other sketch will allow me to create some good, contrasting material to the movements that will be around it.
Sunday, May 8, 2011
Should have double checked
So last Sunday I emailed parts for Time in Memoriam to Lee Morrison. As I was creating the PDF part I did not double check to make sure that the formatting came out right. Of course it was not right. The original page size of the score is 11"x17". When I extracted the parts I reduced the page size to 8.5"x11". However this did not change the printer format size to 8.5"x11". It was still set at 11"x17". So all of the parts came out as 8.5"x11" on 11"x17" paper. When printed to 8.5"x11" paper the printed area came out smaller. Lee emailed me about the problem so I spent about an hour on Monday recreating the PDF parts, this time in the correct size. Monday evening I sent the parts to Lee. Now I know I should have double checked the parts.
Listening Journal: April 25-May 1, 2011
Kaija Saariaho - Grammaire des Rêves (1989) for soprano, contralto, 2 flutes, harp, viola and cello
Kaija Saariaho - Mirrors (1997) for flute and cello
Krzysztof Penderecki - Violin Sonata No. 2 (2000)
Franz Liszt - Hamlet (1858) for orchestra
Alban Berg - Violin Concerto (1935)
Olivier Messiaen - La Transfiguration de Notre Seigneur Jésus-Christ - CD #1
First Septenary (1969) for mixed choir, seven instrumental soloists and large orchestra
Einojuhani Rautavaara - Angels and Visitations (1978) for orchestra
Henryk Górecki - String Quartets Nos. 1 & 2 - CD
Kronos Quartet
Already it is Dusk, op. 62 (1988)
Quasi una Fantasia, op. 64 (1991)
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To purchase mp3 album click here: Kronos Quartet - String Quartets 1,2: Already It Is Dusk: Quasi Una Fantasia
Kaija Saariaho - Mirrors (1997) for flute and cello
Krzysztof Penderecki - Violin Sonata No. 2 (2000)
Franz Liszt - Hamlet (1858) for orchestra
Alban Berg - Violin Concerto (1935)
Olivier Messiaen - La Transfiguration de Notre Seigneur Jésus-Christ - CD #1
First Septenary (1969) for mixed choir, seven instrumental soloists and large orchestra
Einojuhani Rautavaara - Angels and Visitations (1978) for orchestra
Henryk Górecki - String Quartets Nos. 1 & 2 - CD
Kronos Quartet
Already it is Dusk, op. 62 (1988)
Quasi una Fantasia, op. 64 (1991)
Click image to order CD from Amazon.com
To purchase mp3 album click here: Kronos Quartet - String Quartets 1,2: Already It Is Dusk: Quasi Una Fantasia
Saturday, May 7, 2011
Time in Memoriam: parts done and sent
Last weekend I finished editing the parts for Time in Memoriam. At this point I feel like I am becoming a pro at extracting and editing parts. Earlier this year I extracted and edited the parts for Night Sky for Adam Noel's concert band. I still need to finish editing the parts for my Bass Trombone Concerto to send to Jonathan Warburton.
On Sunday night I sent the parts in PDF format via email to Lee Morrison, director of the New World School for the Arts High School Wind Ensemble. Lee said that they will read the piece sometime this week and he would let me know how it goes. I am looking forward to hearing feedback about the piece.
On Sunday night I sent the parts in PDF format via email to Lee Morrison, director of the New World School for the Arts High School Wind Ensemble. Lee said that they will read the piece sometime this week and he would let me know how it goes. I am looking forward to hearing feedback about the piece.
Wednesday, May 4, 2011
Festival Submissions
This year the Festival of Contemporary Music celebrates its 9th season. We received sixty-seven pieces submitted by forty-seven composers. Each composer is allowed to submit up to two pieces. Listening to each submission and making selections for the FCM is a long process. This year there are three of us in the selection committee which helped to make the process a little easier. After listening to all of the submissions the committee convened to discuss the submissions and make selections.
As with any open call for scores we received a wide variety of pieces in style and quality. Fortunately it was not all "questionable" or bad. We received many quality compositions. Not enough, however, to justify opening a third concert date in the future, but plenty to make two high-quality concerts.
The 9th Annual Festival of Contemporary Music is a two-concert event that will take place on Saturday, July 20, 2011 and Saturday, August 13, 2011 at the San Francisco Community Music Center. For more information please visit: www.newmusicforum.com.
As with any open call for scores we received a wide variety of pieces in style and quality. Fortunately it was not all "questionable" or bad. We received many quality compositions. Not enough, however, to justify opening a third concert date in the future, but plenty to make two high-quality concerts.
The 9th Annual Festival of Contemporary Music is a two-concert event that will take place on Saturday, July 20, 2011 and Saturday, August 13, 2011 at the San Francisco Community Music Center. For more information please visit: www.newmusicforum.com.
A busy month
April 2011 was a very busy compositional month for me. Which is why I did not post as many entries here and my Listening Journals were short for a couple of weeks. All-in-all it was a good month. I finished Time in Memoriam including the editing of the parts. I set up my next new composition, though I have not decided on the complete instrumentation yet. I also received a request for a set of parts for my Concerto for Bass Trombone and Orchestra.
In addition to all of that I had to review submissions for the 9th Annual Festival of Contemporary Music. This is a process that takes up a lot of my time. However it is something I have enjoyed doing for the last nine years. The program for this years FCM is set and more details will be made available in a future post.
I look forward to what May will bring. I hope to stay busy, yet be able to spread out the projects. It always seems that everything comes to me in bunches. For once I would like a little breathing room between deadlines.
In addition to all of that I had to review submissions for the 9th Annual Festival of Contemporary Music. This is a process that takes up a lot of my time. However it is something I have enjoyed doing for the last nine years. The program for this years FCM is set and more details will be made available in a future post.
I look forward to what May will bring. I hope to stay busy, yet be able to spread out the projects. It always seems that everything comes to me in bunches. For once I would like a little breathing room between deadlines.
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