This is the 600th weekly piece since I started keeping the commitment of creating a new piece of music each week. Since then (in the last five years), I mostly started adding a live performance and an album-length release each week as well.

Is there a point to all this activity? There are several: if I call myself a musician, am I making music? Well, yes. Before starting this process, sometimes there wasn't. I waited for inspiration to move me, which...more often than not, did not happen. Instead, doing [i]something[/i] every week keeps that part of my mind at least a little active, and keeps my connection to music open.

Over time, I've changed the active genres, not so much out of "growth" as out of following where the music leads. There've been a lot of three-guitar pieces in the last few years, and this seam may need to go dormant for a bit. But...this way of working does fit very well into a busy life, so this milestone follows that approach, rather than getting something completely new. (Last week was a departure, though.)

This one started with the second motif you hear, which comes from an experiment with a Freddie Green shell chord (here in arpeggio form), which led to some other partial or open chords. I do love sliding barre chords around, though, so those show up here, too. And in a nod to my weekly ambient practice, the eBow makes an appearance toward the end. Otherwise...there's a bit more freedom than some of the recent three guitar pieces, a willingness to let space exist, and some emotional expression as well. And inevitably a couple inaccurate fingerings...but that's part of being human.

Guitar: PureSalem Mendiola, straight into the UA Volt, into Ableton. There's a bit of convolution reverb send from each channel, and multiband compression/eq.

The title comes from minor planet 600 Musa. Thank you for listening!

Another all-guitar one. This started pretty loose, and then coalesced around one chord progression. And a busy weekend meant I couldn't wrap it up until now. The overall result...could be music.

Guitar: PureSalem Mendiola, through Balls Effects KWB (for some bits) and straight into the board. One send: a hall-sized convolution reverb.

The title comes from the hydrogen bridge coming off of Messier 99.