Hello everybody.
I'm very honored to have written "Crossing The Western Ocean" for Centreville High, and am very grateful to Cheryl for all her help and hard work.
Any questions concerning this piece, or any of my music, I'd be happy to answer.
I'd also love to answer any questions anyone may have about the instruments I play, the Nashville music scene, being on the road in general (or with the Dixie Chicks in particular), working in the recording studio, arranging, composing, etc.
This is my first time using a blog (being an old fart of 47 years of age), so excuse me if I'm slow getting things going.
Talk soon.
- John Mock
P.S. - I will check this blog page at least a couple of times each day... once in the morning, and again in the evening. Thanks everybody. - John Mock
About Me
- John Mock
- New England born composer and multi-instrumentalist John Mock has worked with such notable artists as the Dixie Chicks, James Taylor, Nanci Griffith, Maura O’Connell, Sylvia, Kathy Mattea, and Mark O’Connor. John has also written many commissioned orchestral arrangements for a variety of recording artists including the Dixie Chicks, Nanci Griffith, Kathy Mattea, Maura O’Connell, and Cherish The Ladies. These works have been performed by orchestras throughout America and abroad, including the London Symphony Orchestra, the National Symphony Orchestra, and the Atlanta and Nashville Symphonies. His credits as a composer and performer include commissions from the Nashville Chamber Orchestra with appearances as a featured soloist in a number of NCO concerts and recordings. John’s first solo album The Day At Sea was released in September of 2005 (visit johnmock.net).
58 comments:
John,
This is Cheryl's husband, Bart, and I just wanted to thank you for the way you have responded to Cheryl's efforts to provide her orchestra students with the unique experience of having an original piece composed "just for them." This is something they can tell their children and grandchildren about in years to come.
Since we first talked to you about this project folowing your performance with Maura O'Connell, at The Birchmere, we have purchased all of your CDs that we could find and have truly enjoyed listening to them over and over…which leads me to ask you if we can look for a new CD of your work in the near future? Also, are there any plans for a return visit to The Birchmere with Maura any time soon?
Again, thank you so much for helping Cheryl realize a dream she has had for many years! I can hardly wait for the World Premiere!
Bart Cooley
Bart
Thank you... yes, I will be at the Birchmere again with Maura on Feb 16th.
I'm looking foward to the premier, and working with Cheryl and the students.
This fall I plan on doing a concertina CD, then hopefully another "full" CD by the end of next year.
Thanks - John
hello im from chamber orchestra. my name is tommy.
Do you play any instrument other than guitar?
How many instruments can you play???
Tommy and CVHS
Hello and thanks for the question.
I play guitar, mandolin, tin whistle, concertina, harmonium and percussion (incl. the Irish Bodhran).
My first instrument was guitar. When I was around 30 years old, I also started playing tin whistle and Irish music... which led to most of the other instruments I play.
About 75% of the living I make is done because of those other instruments, so it was a good thing to take them up. Even my gig with the Dixie Chicks happened because they were wanting a tin whistle to go on a recording, and so I was hired to play on the song: "Ready To Run". They also had me play concertina and bodhran on the same record. So that's how I met and started working with them.
It's fun playing different instruments, and is more like learning a new "accent", rather than learning a new language. It's not like learning music all over again, it's more like applying what you know already to another instrument.
Thanks for the question.
- John
Dear Mr. Mock,
I have been casually trying (stress on trying haha) to compose for a long time now and I really enjoy your work, I had a few questions regarding how you compose.
1. The first thing I was wondering is where you think of your melodies. Do you come up with them and just write them down or do you variate until you find one you like?
2. The second question I had was how you actually compose, like whether you just write the parts all at once or if you write the melodies and then write the chordal accompaniments afterwards?
Thanks you for taking the time to answer our questions!
Eric
Hello, and thanks for the question.
Usually the melodies come when I have an instrument in my hand. I may start with a few notes or a few bars that I either heard in my head, or stumbled on with my fingers. At that point, as I play it, I may hear where it should go in my head and then try that, or I may just noodle around on the instrument until I grab onto something else that hits me, and go from there. I often write the melodies without really worrying too much about chords yet, particularly if I’m using a tin whistle. Many times though (especially if I have a guitar in my hands), you hear both together… or you may have some nice chords first, and add a melody to that.
After having a melody, I’ll start adding (or finish adding) the chords to it. It’s often a good idea to come up with more than one way to harmonize a melody, so that you can vary the “harmonic structure” of the composition as you go (i.e. - when the orchestra takes the melody, the underlying “chords” can vary, giving new life to the piece).
Once I have a melody with chord changes and possibly some variation, then I have the basic structure for the piece. At this point I’ll answer some self-imposed questions like: “Who plays the melody here?” “Do I hear an accompaniment pattern here in the strings, or a flowing counter-melody?” Answering questions like these then gives me the basic “skeleton” of the composition. At that point you can start adding the “meat” to the bones: writing the string parts, the counterpoint, the voice-leading, counter-melodies, etc.
So… for me, things tend to happen in “layers”. There is no right or wrong, and different compositions can be written different ways. The important thing is to start where you feel inspired to start at that moment.
Copeland said once that the art of composing is to take a brief moment of inspiration, and then (with a lot of hard work), turn it into an entire piece that sounds “inspired” (I’m paraphrasing, of course… I don’t remember his exact words).
I hope this helps. Thanks again… good question.
- John
John,
Could you talk about your inspiration for the piece you wrote for the Centreville Orchestra? I know it has to do with the immigration of Irish people to the U.S. during the Potato Famine, but could you tell the students more about how you came arrived at that as the source for the musical story the piece tells?
Bart
Hi Bart
Good question.
Basically, I was thinking about immigration (it being in the news so much these days), and how we are all offspring of immigrants.
I also love traditional Irish music, and I work with a number of musicians who are immigrants from Ireland, England and Scotland as well.
For me, it’s always more inspiring to compose when I have an “outer framework” or some visual information from which to draw. It’s like I need a movie in my mind of sorts that I can then write a score to.
The composition “Crossing The Western Ocean” is divided into four basic continuous movements that, in my mind, correlate to a “story” of immigration in the following way:
Section 1: The string drones with the solo tin whistle in dorian mode (a popular mode used in traditional Irish music) is to set the scene in Ireland with a melody that is moody and a little dark. In Ireland they referred to the leaving for America as an “American Wake”: upon leaving, usually one was never able to return. I felt that the use of the tin whistle instead of guitar was important to set this mood.
Section 2: Is a slow Jig in dorian mode as well. Perhaps because of the alternating octave bass, the Jig feel, and the droning nature, this section has a rolling sound, which I feel depicts the ocean rolling underneath the boat. When the strings take over the “scene” gets larger, but the return of the tin whistle keeps a somber mood.
Connecting “Hymn”: This is a short, but important melody in that it a) musically allows a smooth transition and modulation to the next section, and b) it is meant to depict a ray of hope for a better future.
Section 3: Is a Hornpipe. At this point there is some excitement at getting closer to the destination, and the plans of making money to send back home. The mood sobers up into the key of D major, with a more dance-like feel.
Section 4: Is in the key of D mixolydian, another popular mode used in traditional Irish music. We return to the Slow Jig feel. There is sadness, yet a relaxed or resigned mood as well. The trip is over. There is hope, yet there is also a great unknown to their future.
The piece then ends on the hopeful Hymn tune that we heard earlier.
I hope I didn’t go overboard (no pun intended) on this reply, but it really was an important part of the composing process for me.
Thanks again.
- John
Hello. I was wondering if you know a guy named Matt Ramsey. He is my cousin and a songwriter. He wrote a song with Phil Vassar.
I know his name, and who he is, but I'm not sure if we've met yet. We may have, but unfortunately, the part of my brain that stores those things has always been a little slow on recall.
- John
How long did it take you write this peice?
Dear Mr. Mock,
I was having a discussion in my English class about how society, popular culture, and politics can affect even the best writers and change their message to their audience. As an artist, do you think your music is influenced by the changing times? If so, how?
Jordan and Nicole
Hello and thanks for the questions.
Jordan:
You know… the actual hours spent writing “Crossing…”, if I were to add them all up, may only be 20 or 30, but that would be just the time spent actually writing the notes on the page, or coming up with the music on the guitar or whistle. Those 30 hrs are spread out over a couple of months, because I find I can only write in short segments, with a lot of space needed between them for other ideas to arise.
As an example: I wrote the first Jig section and the Hornpipe very quickly (on and off within a day), but it was then another week before writing the second slow Jig that follows the Hornpipe. During that week however, I had that first Jig and Hornpipe running in my head till it became apparent what to do next.
It’s important to let the melodies come to you and feel “inspired”, but after all the “big sections” are written or sketched out, the work of putting it all together and filling it out is what always takes the longest.
Good question, thanks.
- John
Nicole:
…that’s a good question that I haven’t really thought much about till you just brought it up.
I think that perhaps the music I write is hoping to touch a place in people that is constant. For me, no matter what is going on in the world, I will still feel at peace when standing near the ocean, or walking along a small road in the west of Ireland. It’s only when I’m in those situations that I seem to feel any inspiration to write at all. That’s how it works for me at least.
I really have strong feelings about what is going on in the world (very strong feelings), and I think it’s very, very important that artist express these things, but for some reason I have been keeping my music apart from all of that. I think I need to do that to keep my sanity.
Thanks… very important question.
- John
Mr. Mock,
Hello, and how do you do? I am a student of Mrs. Cooley and I wanted to ask you a general question. What do you believe is the most important quality of a soloist when he is on stage(posture/appearance, technique, style, sound)?
Dear Mr. John Mock,
Hello :) My name Janifer and I'm from Mrs. Cooley's class. I just wanted to know, out of all the professions you could've chose, why did you decide to become a musician? And what other professions have you considered?
Also, thank you for writing a piece for the CVHS orchestra. I think that's very kind of you. :D
Janifer
John,
You are such a well-versed and multi-talented musician, I am curious to know which of the many styles of music that you play do you personally enjoy the most? In other words, when there is no tour to perform, no studio session with Maura O"Connell or the Dixie Chicks or Bonnie Raitt, or whomever – when it's just John and his guitar, what style gives you the most satisfaction to play?
Bart
I'm interested in your passion for Irish music. What brought on this passion?
Hello Mr. Mock,
My name is Jennie,I'm glad that I can have this chance of speaking with you. I was just wondering if you could tell me what inspired you to compose "Joshua's Lullaby"? It is such a beautiful peice. Where do you get your inspirations for your peices? Thank you for writing the "Crossing the Western Ocean" for our Orchestra, I can't wait to hear the final version of the peice.
Hello, my name is Raymond An. :) I have a question I've been wondering. Is there anyone else in your family that is also a musician? If so, who and how did they get interested in the music career?
hey mr. mock,
i think that its really cool that your helping us by writing a wonderful piece and helping us follow our dreams.
Hello
My name is Jihyun and I am a student of Mrs.Cooley.
I just wanted to thank you for the music piece you wrote for us.
We are enjoying it very much! :D
I was wondering,
What genre of music most influences your own music?
Hey guys, thanks for the questions.
Michael H.
Hello.
I’ve seen performances (in Irish music, folk music, pop and singer-songwriter stuff mostly) where the performer was far from perfect technically, but
communicated, musically, so well with the audience that it didn’t matter.
That doesn’t work so well for a classical performer though… they really need to have both things going on (technique and musicality).
Therefore, I think that the most important quality for a soloist would be their ability to transcend technique, and really connect with their audience.
This would mean, of course, getting ones technique to a point where they are then free to make music uninhibited.
Thanks.
Janifer
Hi.
When I was young I wanted to be a professional hockey player. I was a goalie, so I guess going into music was just a way of continuing the abuse…ha, ha, just kidding, of course.
Actually, I really was a hockey player (a goalie) and that’s what I wanted to do, till I got a guitar.
At that point in time (even though I couldn’t really play the guitar yet), I knew that I wanted to be a
musician.
I was pretty much considered a nerd in junior high and high school (is that word still used?). When I got into music, and took music theory from Mr. Pierce, I felt that I was at home. I could express myself, and I enjoyed the technical side of learning music as well. As I got better on guitar… I wasn’t even considered such a nerd anymore (which was a big deal for a 15 year old).
On a more serious note, music was the thing that really connected with me. All of the stuff that was happing to me at that age (first love, first heartbreak, etc) could all be expressed by playing, or listening to music. I felt better hearing an artist like James Taylor sing about the very things that I was going through.
I’ve never considered another career other that music.
Thanks.
Bart
When I’m free to just sit down and play whatever I want, I usually do one of two things: 1) I’ll play traditional Irish music, which is usually on the tin whistle. 2) I’ll use the opportunity to play my own solo music. This can be on guitar, concertina, or tin whistle. I enjoy doing this because sometimes I
get so busy with other peoples music, it’s actually pleasurable to sit down and play my own, to remind myself of what I really want to be doing. It’s also the only opportunity I’ll usually get to practice.
Thanks.
Cheryl
My passion for Irish music started with a passion for Ireland.
Back in 1n 1987 or 88, I went over to Ireland on a tour with Kathy Mattea and fell in love with the countryside, the relaxed feel of the people, and the music. I also bought my first tin whistle while I was there.
When I got back home a friend of mine (guitar maker Jerry Jones) turned me on to an early Paul Brady recording called “Welcome Here Kind Stranger”, which was all traditional music.
I started playing in a traditional group called Isla, and just got deeper into things from there.
Thanks.
Jennie
Thank you Jennie.
When I was in college (Berklee College Of Music in Boston), I met a couple of really good friends (named Jeff and Laura), who were also dating at the time. We then started playing in a band
together.
They got married a year or so after college and moved to Nashville. A little later I moved down as well. At this time they had just had a baby boy, and named him Joshua.
I wrote the melody on a flute one day, and then added the chords to it. I only had the first section though (where it is in C and Am). It was about a month later that I wrote the 2nd section (the one that modulates and cycles back). I then scored the whole thing for strings. It was also the first piece I’d ever written for strings (not including assignments in college).
Joshua is now in college, and he’s a fine musician, like his parents.
Thanks
Raymond An
Hello.
Actually, I’m the only musician in my family. My mother, however, was very creative in other areas. When she was young she was a dancer, a painter, and a photographer, though not professionally.
I took up music at the age of 15, which is considered pretty late I guess.
I was always affected by music, even when I was very young. I think there was also an attraction to doing something that was totally independent from the rest of my family (two parents, one older brother).
Thanks
Jihyun
Thank you.
The biggest influence on my music is Irish traditional music, Bach, and Ralph Vaughan Williams.
I guess everything we like and listen to rubs off, but those are probably the main influences.
Thanks.
Thanks to all for the wonderful questions and kind comments.
- John
I have been wondering who or how you were inspired to write music. I think writing music is a special ability and it is really hard.
Hello Mr. mock, thank you for taking the time to write this wonderful piece for our orchestra. Have you traveld the world to different contienents and got inspiration?
Yong Kwon
Hello, and thank you for the question.
I love to play music, but it is very important to me to be the creator of that music as well. People may like the music or not, but I like being responsible for what the audience is hearing on every level.
I feel that it’s the best way for me to put something out there in the world. If nobody was going to listen to it, it would still be important to me to write it.
I guess in some ways it’s like saying a prayer, or practicing a meditation. The fact that it can also be a way to make a living is just icing on the cake, and I’m very thankful for that.
Thanks.
- John
William
Hi William, and thanks.
Yes, I always get inspired to write while I’m traveling. Almost all of the music on my CD are of very specific places: some in New England, some in Ireland.
I’m also a photographer, so when I’m in… say the West of Ireland, I’ll go somewhere (the Cliffs of Moher for example), and take many photos… I may even jot down some melodies or a rythmic feel. When I get back to the hotel or even back to the states, I’ll start composing with the feel of the place still in my heart.
Sometimes it’s a story that intrigues me. When I was on Inishere (a small island in Ireland), I heard the story of St. Ghobnait, and my piece called “The Patron Saint Of Ballyvourney” was written about that.
The nice by-product of writing this way is that I then have some very specific stories that I can share with the audience on what the pieces were written about.
Thanks.
- John
Dear, Mr.Mock
Currently in Ms.Cooleys class we have been playing and listening to few of your music. I been wondering how do you make music so exciting for people who plays it and people who listens to it?
im a short asian kid from chamber orchestra and i play the cello. i am a freshman.
thank you very much for puting forth your time and effort to make us such magnificient piece.
what helps you compose music? your imagination? what you see, hear, feel, smell, or touch? ideas that just come down from the sky?
Hello Mr. Mock,
my name is noella and i was wondering about something for a long time.... in my spare time sometimes i like to fiddle with my violin and occasionally (not often!!) i can hear a melodie form in my head but I worry that it's a song i've heard from somewhere else.
have you had any experiences like that? what do you do when you notice it's a song you've heard somewhere... do you just rip the papers up?
how did u get intersrted in producing Irish music knowing your from England?
What got you interested in producing Irish music?
Yong Kwon
I think that the best way to have the music you write be able to connect with people is to make sure that it connects with you first. If I start writing something that feels like it is just lying a little flat or lifeless, I always put it down and wait till something with more character hits me.
Thanks.
Anonymous
…You’re welcome. I’m very happy to have been chosen to compose this piece for you guys.
Yes… all of those things help to compose music. Probably most important are the emotions though. If you can get in touch with something in your life that is emotional for you (a place, a person, a situation…), whether it’s something that makes you very happy, or even very sad, or angry, at peace, etc., then that is what will inspire the best music in you.
Thanks.
Noella
That has happened to me too. If I know that I’ve started writing something that has already been written, I will toss it.
Be careful not be too hasty though. Many times a very strong original melody will have a feeling of familiarity to it. You may think it’s been done, but it hasn’t. For me, this was the case with Joshua’s Lullaby. The first section sounded so familiar that I spent weeks wondering if I had heard it somewhere, but it was my own.
Thanks
Cammy
Hello. Actually, I’m from New England (South Eastern Connecticut, near Mystic).
I didn’t get into Irish music till I was around 26 years old… after visiting Ireland for the first time and falling in love with it. I’m about 50% Irish as well, but I don’t think that has much to do with it.
As I took up some of those traditional instruments (tin whistle, concertina, bodhran), I started getting called in to play them on recordings. There was more interest in that style around Nashville than I thought there would be, and the producing started from there.
Thanks
Thanks for all the good questions guys.
- John
hello mr. john mock. im from centreville high cant wait to play your new peace!!
Anonymous
Thank you. I'm really looking forward to it, and I'm looking forward to meeting everybody as well.
- John
Hello Mr. John Mock I'm Allen a violinist from CVHS. I was wondering where you get your inspiratoins for making new music.(is it from like nature, relatives, or personal experience?)
Hi im justin from Centreville highschool and i was wondering if you've ever heard music consisting of strings and turntables if so do you know which composers wrote that kind of music incorporating strings and turntables?(so far ive only heard of DJ Radar working with Raul Yanez in "concerto for turntable")
Allen
Hello and thank you.
Inspiration (for me) often comes from nature and our relationship to it.
It can also come from history, particularly when the historical situation carries quite a bit of humanity and emotional power with it. This was the case with “Crossing The Western Ocean”.
Justin
That sounds fascinating. I’m actually not familiar with it, but will do a little research on it myself, now that you have made me aware of it.
Thanks.
Thanks everyone.
- John
Mr.Mock
Hi my name is Jason from Chamber Orchstra CVHS. I was woneding who's your favorite modern& lod time composer because your musics are very much like Irish and romance era musics.
oops I made mistake.
Its old time not lod time;;
Jason
Hello and thanks for the question.
I would definately say that in the modern era Ralph Vaughan Williams would be my favorite.
I particularly love his 5th Symphony, "Five Variants of Dives and Lazarus", and "Houshold Music".
Actually, he would probably be my favorite of any era... with the exception of Bach, of course.
Thanks.
- John
Dear Mr. Mock,
My Name is Jennifer Wu from Concert Orchestra of Mrs.Cooley. I would like to say Thank you for a wonderful piece you have written for our CVHS Orchestra. The Crossing the Western Ocean was so amazing when we first played with the class. Not only because the piece was written for us but it also inspired and helped me to rememeber my old memories of moving back from Japan to here. Although I was born here, due to my parent's occupation, I was raised in Japan for 10 years. And it was very challenging to adapt to a new environment. I still remember all the fear and loneliness when I first attend elementry school in America. Haha.
I've been holding a strong passion for music since little. It all started off with dancing. And then it led to singing. I've participated in the whole CVHS music department, Orchestra, Marching band, Choir and Guitar, and I enjoy every different ways to express the music in me. Although I'm not major in music, I hope to work in some kind of relation to music industry in Japan in the future haha.
I am very excited to have an opportunity to work with you on coming up rehersal and concert.
Once again, Thank you!
-J.Wu
Jennifer Wu
Thank you very much. I'm glad you like the piece.
I feel honored to have had the opportunity to do this, and I'm really looking forward to meeting you, Mrs. Cooley and the other students very soon.
Thank you,
- John
Hi, i'm from centreveille high school. My name is yujin pak.
I don't know who is you because,
i really don't know american people. cause, i learning english now. But, I want to know you .
How many instruments can you play???
Yujin
Hello. Thank you for the email.
I play guitar, tin whistles (high and low), concertina, mandolin, harmonium, and percussion.
I'm looking forward to meeting everyone.
- John
John,
I really enjoyed having dinner with you last night - especially the opportunity to talk with you about such a wide range of topics. I was particularly taken with your description of the writing assignment your daughter had when she was 12 and I hope you will recount it for Cheryl's students.
Bart
Hello. Yes, that is a good idea.
When my step daughter Caity was 12 (she's 24 now, and I didn't know her then), she did an assignment for school: She wrote a diary from the perspective of a 12 year old girl in Ireland coming to America during the potato famine. Although the work was a fiction, she researched it so well that every date, the weather, ship names, etc were spot on... so I think that makes it an "Historical Fiction". The story was so engaging and well written that it became the best source for me in remembering dates and happenings during that time.
Caity teaches at Anacostia High School in the Teach For America program... she is still brilliant.
Thanks.
- John
Mr.Mock,
It has been very pleasing to work with you for the past couple days. I was amazed when I heard the solo part of crossing the ocean. I know the concert is going to be a great one, and I'm very glad to have this opportunity on my last year of highschool.
Once again, Thank you very much for working with us!
-Jennifer.
Jennifer wu
Thank you Jennifer. I feel very privileged to have had the opportunity to work with you, Mrs Cooley, and the orchestra.
- John
To the entire CVHS orchestra and music staff
I want to thank all of you for making me feel so welcome at your school this past week (and for the very thoughtful thank-you card). I feel very privileged to have worked with all of you.
Thank you so much for all of your hard work, friendship, musicianship, and for doing such a great job on the rehearsals and the concert. It was a great evening.
I will never forget this experience, and I’m looking forward to seeing all of you again soon.
Perhaps I can stop by sometime when I’m playing in the area, or when my wife and I are visiting her daughter in Washington DC.
In the meantime, If anyone has any questions or comments about anything at all, I will keep the blog up and running for awhile, so please don’t hesitate to write me.
Thank you so much for everything.
Your friend.
- John
... and a very special thank-you to Cheryl Cooley for having made all of this possible!
We'll talk soon.
- John
Mr.Mock I had a wonderful time working with you. This has been a really special time. How many students gets to meet a compeser who wrote a music for them? I believe not very many. Thanks for this wonderful experiance you have led me through and I would never forget this. Until I see you again, bye
From,
Yong Kwon
Yong
Thank you for the kind note. I really enjoyed wotking with you too.
I hope to see all of you in February when I play in Alexandria with Maura O'Connell.
- John
Mr. Mock:
Thank you so much for everything that you have done. I feel very grateful that I had a chance to do this, it is such a wonderful opportuniy. I hope that you can come and work with our orchestras in Nashville or at our school. Keep writing more songs!
~ yvonne
yvonne
Thank you. I'm very thankful to have had the opportunity work with you guys.
I would love to visit with everybody when you are all down here to Nashville.
I may be able to stop by CVHS in Feb. when I play at the Birchmere.
- John
John,
Looking forward to seeing you and Maura at the Birchmere, Saturday! Hope you had excellent holidays and that all is well in your world.
Bart
Bart
Thank you all for coming out to the Birchmere. I really had a great time and enjoyed seeing all of you.
Talk soon.
- John
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