"Kat Meoz - Reason" Released on 3/12/2021 via 7clouds.
Buy Link:  https://7clouds.fanlink.to/Reason

 Kat Meoz
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Released by: 7clouds
Release date: 3/12/2021
ISRC: USA2P2107105
UPC: 192641673283
Catalog: 7C024

This song is my heart’s cry.  It’s a call out to the universe, to send a greater purpose; a reason to live. Having written this song halfway through 2020 I felt very strong that others would identify with the message; whether yearning for a shred of authenticity in relationship, or trying to find new inspiration in career. It’s a siren call to conjure new doors opening, it is my double dare to the universe to step up and create with me a life filled with deeper meaning. – Kat Meoz

Kat Meoz is a Venezuelan-American songwriter who has been under a growing spotlight the past few years; her gritty pop most notably catching the attention of giants like Pepsi and Playstation. Latest releases from Kat combine her love of in-your-face stadium sized noise with the singer-songwriter roots she came up with. Originally hailing from Las Vegas but taking up court in Los Angeles since the early aughts, Kat’s impressive vocal technique is often compared to Joan Jett, Janis Joplin, and Alanis Morissette. With plans to become a household name herself, the powerhouse of a vocalist is well on her way.

Reason

Kat Meoz - Reason

Wanna trip

The Book of Goddesses
For Flute, Harp, Percussion, and Optional Choreography
Commissioned by MAYA with funding from the  New York State Council on the Arts
Duration: 36'

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1011

For more information: https://robertpaterson.com/the-book-of-goddesses

PROGRAM NOTES
My initial inspiration for The Book of Goddesses, and the source of the title, is the beautiful, lavishly illustrated book of the same name by Kris Waldherr, a Brooklyn based author, illustrator, designer and cellist. Waldherr’s book contains descriptions and images of hundreds of female deities from around the world, some featured more prominently than others. Rather than focus on goddesses in one particular culture, I highlight a few that seem to evoke something musical, dance-related or sensual. The cultures, countries and continents I draw on for musical material and styles are India, China, Greece, Ireland, North America, Nigeria and Cuba.

The flute and harp parts in each movement are often inspired by similar instruments found in each culture. For example, the harp part in Xi Wang Mu is inspired by the Konghou, and ancient Chinese harp, and the solo bass flute movement, Estanatlehi, is inspired by the sound of a Native American flute. Percussion instruments provide an earthiness, at least with regard to timbre, and each of the trio movements uses instruments that are not common in Western music, including an Indian Gatam, a Middle-Eastern Dumbek, an Afro-Cuban Cajón and the Udu drum, an instrument traditionally played by Nigerian women.

In order to achieve the right feel for each movement, I use non-Western scales, rhythms and other elements, and I occasionally appropriate patterns and other material from pre-existing music. My goal is to merge some of the qualities of traditional music with my own sensibility, and then filter it through flute, harp and percussion.

Many goddesses are associated with dance, certain colors or creativity in general, and with that in mind, I imagine The Book of Goddesses being performed live with choreographed dance. It may be presented in its entirety, although subsets—such as all of the movements for flute and harp—or single movements may also be extracted and performed.

The Book of Goddesses was commissioned by MAYA with funding provided by the New York State Council on The Arts.

The Book of Goddesses

The Book Of Goddesses - I. Saraswati

Sunset

Ceilândia

Equinox Epilogue

This song starts in B major with a ii-V-I-IV progression.  It slides into Db major at around 0:42, but it is extremely subtle and I almost guarantee you won't notice right away unless you are actively comparing both tonic notes on a piano when it does, part of the reason for this is that it actually starts to modulate mid-progression, that progression starts in B Major for the first two chords and then shifts in Db Major half-way through and the next progression is a strong Db Major progression, identical to the first B Major progression of ii-V-I-IV (same shape, different color, right?)  The "transition" progression is a I-IV-iii-VI in B, the sixth is major, part of the reason that the tonic shifts, and also the iii in B is the ii in Db.  So really, the first two chords (B and E) are found only in B Major.  The third chord is shared and the fourth chord is found only in Db Major, it also happens to be the dominant 5th in Db Major (Ab, enharmonic to the G#, cool.)  If you don't believe me, listen to the B note that's held right around 0:42.  The key is still in B Major when the note is first played, but I'm convinced the shift starts right away once the shared chord takes hold.  Very, very weird.  You can hear the tone of the B as it's held, it goes from sweet tonicity to dissonance as it is no longer in the new key, Db Major.  There is no “dissonance” heard in the B note when I play the same recording of it by itself in my DAW!!  If you still don't believe the modulation starts that quickly grab a piano and play the middle B and the Db in the 2nd octave over and over again during this progression.  You will hear the shift right around 0:42, almost exactly at the shared chord.  This is one of my favorite modulations ever, I even fooled myself on this one at first, until I play an arpeggiated Ebm at the same time as an Ebmaj (sort of) and right after an E in the next example!

Another cool listen of the same modulation comes later.  Same progression and B again melts into Db seemingly before it should.  Maybe the reason for the weirdness going on here is partly that I play an ambiguous D# arpeggio (actually Eb by this time)ambiguous due to the fact there is no 3rd played, just 1st and 5th.  It's behind this progression and kind of fits and kind of messes with your ears a little.  This other modulation from B to Db comes at 2:55 which is after a stint in C Major that starts at 1:24, an abrupt and obvious, but very cool sounding key change.  C goes a half step back down to B at 2:30 where we also start to hear the sound of arps that lead back into Db.  The B to Db at 2:55 is hastened by an arp that I play to end the stretch of arps in B major (C#, B, and E.) The last arp I play Ebm, right after an E when we were still in B major.  So this time the modulation is much more obvious.  Again, I believe the Eb and Bb notes played in the background have something to do with all the weirdness.  The modulation became more obvious after I messed with the bass line. I play 3 identical tracks of bass in this song, for added fullness, except for in this section.  During the Ebm arp I play one track of bass in E and the other two Ebm, just like the lead guitar.  Listen for the dissonance in the bass at 2:55, it isn't obvious because we're undergoing the modulation at the same time, but it does actually enhance the obviousness of the key change.  Also worth mentioning before I run out of room is the change back into B from C again, later in the song at 4:10, but only for about 8 seconds, because this time I'm using the "transition" progression instead of the ii-V-I-IV , so we are really only in B for about 4 bars, then it shifts back to Db, very subtly again.

Can you tell I am fascinated by modulation?  It shows the foundational pattern of all music (the major scale as it's built off each tone) and how instinctively we can hear this pattern.  And so quickly too; it's so damn cool.  And so damn fun to compose.  Thanks for reading!!!

Happiness of the Artificial Mind

Das zweite Album von "da Podbies" steht bevor. Hier eine erste Kostprobe von dem, was euch erwartet. Lehnt euch zurück! Taucht ab in eine andere Welt. Entspannt und geniesst die Fahrt.

Leuchtfeuer

LowKey By YazZay [Prod.jody & VALXR]

Dark Mountains for orchestra
Commissioned by the Vermont Symphony Orchestra, Jaime Laredo, conductor
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=994
For More Information: https://robertpaterson.com/dark-mountains
View Score: https://issuu.com/robertpaterson/docs/dark_mountains_for_orchestra_fs-bou

PROGRAM NOTES
Vermont is famous for its green mountains, but I often find myself taking long drives through the mountains on overcast days or even at night, when the mountains lose color and become gray silhouettes. Many roads in Vermont are so dark, particularly in the Northeast Kingdom, that you need to use headlights, even during the day. Dark Mountains is meant to portray the beauty and grandeur of the mountains and the peacefulness of the open roads, but also the darkness and occasional treacherous passes one may encounter during the evening hours. The piece is in three connected sections. The first section portrays the calmness and austerity of a quiet evening. The second is inspired by a fast drive down winding country roads, with twists and turns, frequent tempo changes and shifting gears. The final section evokes the feeling of looking at the nighttime sky with moonlight shining through the trees and the sounds of nature in the distance.

This piece is commissioned by and dedicated to the Vermont Symphony Orchestra and Jaime Laredo, and was originally written for the Made in Vermont Music Festival.

Dark Mountains (for Orchestra)

Eating Variations
for Baritone Voice and Chamber Quintet (Baritone Voice,  Flute, B-flat Clarinet, Violin, Cello, Percussion)
Duration: 9' 
Text by Ron Singer
Performers: American Modern Ensemble; Robert Gardner, Baritone
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1109
Online Perusal Score: https://issuu.com/robertpaterson/docs/eating_variations-fs-bound_perusal
For More Information: https://robertpaterson.com/eating-variations

PROGRAM NOTES
Eating Variations is based on a series of witty poems with the same title by Ron Singer. The work as a whole is essentially a satire on food faddism and depicts different aspects of eating. The way I chose to set these poems is light-hearted, perhaps lighter in spirit than Singer originally intended, but with a serious, dark side.

The first movement, My Body, a Temple, incorporates the sounds of Tibetan Singing Bowls (also called Temple Bowls or Cup Gongs) and is loosely, harmonically inspired by Khöömei, or Tuvan Throat Singing and David Hykes’s Harmonic Choir recordings; both of whom use a style in which the singer produces overtones on top of the fundamental notes. Perhaps mercifully, I do not require the baritone to use this technique, but instead, use the flute to produce false overtones in a couple of spots.

In the second movement, The Hog, the instruments mimic pig sounds with scratchy, grunting noises from the violin and cello and clarinet multiphonics. A round-sounding whole-tone scale is used and there is a Polka-like accompaniment in the percussion.

The third movement, Even the Dyspeptic Must Eat, uses upward and downward runs in the bass clarinet to impart a roller coaster-like sense of Gastroesophageal Reflux Disease, a condition in which there is recurrent return of stomach contents back up the esophagus. This is reinforced with a slow, background groove in the drums.

The cello part in the fourth movement, The Dietary Moralist, is inspired by Dave Eggar, a cellist who can play his instrument like a guitar and sing at the same time. In this movement, I ask the cellist to play in a somewhat folksy style and sing out of tune back-up vocals—to me, reminiscent of a 1960s musical Hippie Sit-in. The main vocalist is backed by the well meaning but out of tune "band." To paraphrase an interesting email exchange with Singer, we agreed that in this context, the vocalist might represent a contemporary version of a certain species of 60's hippie—say, a particularly zealous fair trade coffee purveyor, and that this Malvolio type is singing along with a group of kindred spirits. This movement is not a literal portrayal of the text, which is quite serious in tone, and stretches the meaning more than the other movements. Perhaps my interpretation may instead be viewed more as commentary on the text.

In each passing decade, people are sure of their eating habits, and the carefree, assured, commercial America of the 1950s was no different. In the last movement, The Happy Medium, I envision a father-like doctor figure squarely explaining to a patient how to eat. The perky background music is meant to evoke a 1950s TV commercial, or perhaps a short, black and white educational grade school film.

Ceilândia

bocafreireuser80134904

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