For Chromography: Writing in Color, Gerard Brown and I have engaged artist Jane Irish to write an essay for the exhibition brochure. She had several questions for me (Why Bach? What is the purpose of a score to you? What is your step-by-step of process?), to which I wrote a long and rambling reply. For those with the same sorts of questions, I present my responses to Jane in their entirety. _____ I trace this current body back to a number of years ago when the PMA had several hand-drawn scores b
In June, you’ll be able to catch my artwork as part of the Shenandoah Valley Bach Festival. As an occasional singer in the Festival, I’m looking forward to being involved this year on the visual art side. Should be the perfect pairing of artwork and music! Be sure to come out on Sunday, June 14 for a presentation at 2:00pm that explains more about my process and looks at other forms of untraditional music notation. _____ Melinda Steffy The Score Is Not the Music Shenandoah Valley Bac
I’m thrilled to announce that for the first time, all of my Bach Project artwork will be on display together in one place! Fellow artist Gerard Brown and I are exhibiting a variety of works related to translation and color-based communication at Rowan University. The show will include my 24 Preludes from Bach’s Well-Tempered Clavier, 24 of the movements from Bartok’s Mikrokosmos, the first Bach Cello Suite, a Fugue and a handful of Variations on Prelude 1. Hope you can make it!
Prelude No. 19 has been up at Bridgette Mayer Gallery this month. I stopped by the other week for a FringeArts show — a dancer and 2 musicians responding improvisationally to the artwork on display — and enjoyed overhearing several audience-goers talking about my work. “Why do you think this is here?” (pointing to a particular pattern) “Maybe the colors are each a note and the boxes are rhythms.” “What if every painting here had a musical interpretation? That one ov
Be sure to stop by Bridgette Mayer Gallery on Friday, September 5, 2014. Prelude No. 19 is up for grabs (in a 10″ square format) and proceeds will benefit BalletX. [details here] Prelude in A Major (blue-violet), No. 19
How does it work? What is the system? I hear these two questions a lot. So for all you curious minds, here’s a peek into my Bach Project system. It starts with a bit of elementary music theory. The chromatic scale has 12 half-step tones. I’ve drawn it here in C, which is the simplest key on the piano and the key J.S. Bach chose to begin his Well-Tempered Clavier suite. Next comes a little color theory. A basic color wheel includes 12 colors: 3 primary colors, 3 secondaries and 6 tert