Grant & Alcota
Grant
Hey Alcota, I’ve been sketching out a community music program that’d blend microtone workshops with school outreach, and I’d love to hear your take on how we could structure it so it sparks both creativity and real impact.
Alcota
Sounds like a neat plan, but be careful not to let the microtones become a maze for everyone, start with a 15‑minute tuning session, then let students riff in tiny intervals like little motifs, and finish with a group piece that shows what they learned, make the outreach part optional because people need time to breathe, and remember that sometimes the best improvisations come from a half‑finished idea.
Grant
Sounds solid—starting with a quick tuning keeps everyone grounded, and those tiny motif riffs can actually make the microtones feel less intimidating. I like the idea of a final group piece to showcase what’s been learned, and giving the outreach an optional slot shows respect for participants’ bandwidth. The “half‑finished idea” hook is great, it reminds us to celebrate the process as much as the product. Let’s map out the logistics and see how we can weave in a few community mentors to guide the improvisations. What do you think about inviting a local composer to run a short workshop during the final session?
Alcota
Inviting a local composer sounds nice, just keep the workshop tight—maybe 20 minutes of focused microtonal work followed by a quick 10‑minute improv jam. That way the piece stays cohesive and you avoid turning the final session into a lecture marathon. And if the composer is too big‑hearted, give them a short cue sheet so the group doesn’t drift off into a sonic labyrinth.
Grant
That’s the sweet spot—short, sharp, and inspiring. I’ll draft a cue sheet that keeps the composer’s ideas on track, and we can slot the 20‑minute microtonal dive right before the 10‑minute jam. Keeps everyone engaged without the risk of a marathon lecture. Let me know who you’d like to bring in, and we’ll firm up the schedule.
Alcota
I’d lean toward inviting Mira Kline—she’s a microtonal experimentalist who keeps her ideas tight and never lets a motif drift too far. Her brief workshops always feel more like a focused sketch than a full lecture, so it should fit our 20‑minute slot nicely.
Grant
Great choice—Mira Kline’s concise, sketch‑style approach is perfect for the 20‑minute slot. I’ll reach out to her and send over the cue sheet we discussed. Let’s lock the date and let everyone know it’s a focused micro‑workshop followed by a quick jam. This will keep the momentum going and give the students a clear, tight framework to explore. What’s the best way to coordinate the scheduling with her?
Alcota
Just ping her with a quick calendar invite, note the 20‑minute window and the cue sheet attachment, and ask if that works for her. If she’s open, lock it in and forward the confirmed time to the group. Keep the tone casual, like “I’ve got a slot for you, just let me know if 3 pm on Thursday fits.” That’s all.