I'm so tired.
It's coming up to Mocks Week. It's a pretty big event, some teachers say. Then others tell you not to stress out about it and the last remaining few scream into your ear canals that it is the most important thing ever and if you mess it up you mess your whole life up. Deciding which variety of teacher to listen to is really the difficult part.
It's coming up to crunch time for the school's production We Will Rock You. This means that staff of the music and drama department are particularly stressed out and unamused. I've been moaned at quite a few times already because of how terrible at dancing I am. I think they just realised quite how bad I am at it, and they're regretting putting me into the main dancers section in the first place. I tried to warn them, but now they've got me flailing around onstage doing something that vaguely resembles what the other dancers are doing. Why they chose me I shall never know. And not only do I have to publicly humiliate myself, but I have to try and sing extremely difficult harmonies whilst doing star jumps. STAR JUMPS. It's practically inhumane!
Trying to revise for my music mock is proving more difficult than I originally anticipated. Chopin is definitely the worst; I love the piece, I could listen to it for hours, but there's just so much to it to get your head around. Stupid ternary form, septuplet figures with acciaccatura, pedal motif, modulations from Db major to its enharmonic equivalent Csharp minor, chromatic notes, and smorzando. And that's only one of the 12 pieces. Try studying All Blues, with its pizzicato and front line and rhythm section and muting and brushes and head form and 12 bar blue and 4 bar riff, or Why Does My Heart Feel So Bad, with its equalisers and ghosting and vocal samples and loops and synthesisers and breakdowns and four on the floor, or Peripetie, with its atonal key and chromatic clashes and dissonance and klangfarbenmelodie and Hauptsimme and Nebenstimme, or And the Glory of the Lord, with its hemiolas and perfect and plagal cadences and its four motifs in soprano alto tenor and bass, or Mozart, with its sonata form and exposition development and recapitulation and diatonic harmonies and symmetrical characteristics and elaborate orchestration and allegro molto, or Skye Waulking Song, translated from 'Chuir M'athair Mise Dhan Taigh Charraideach', with its compound time signature and modal feel and missing dominant chord and gaelic lyrics and indecisive nature until verse 4, or Yiri, with its trills and balafons and djembes and call and response and ciclic pattern and hexatonic scale and lack of pulse and tremolos and rhythmic ostinati and heterophonic texture, or Grace, with its overdubbing and verse chorus structure and chromatic chords and dissonant harmonies and flange and compound time signature and backbeat and syncopation, or Electric Counterpoint, with its resultant melody and monophonic- polyphonic texture and note addition and crescendos and 12 guitars and ostinati and layering process, or Something's Coming, with its operetta and traditional orchestration and jazz based harmony and flattened seventh and syncopated rhythms and push rhythms and tritones, otherwise known as the diablos in musica, and I'm not even gonna go onto Rag Desh because technically it's three pieces, and IT'S ALMOST ENTIRELY IN ANOTHER LANGUAGE. So anyway. I'm not looking forward to my music mock.