Your Mix 3

Sirio 51

Casa Mia

My dear friend Peter (https://soundcloud.com/peter-palisander-37069099?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing) sang and played bass and some guitars to my song "Believe in Peace". I'm very pleased with the result.

I took the cover photo of Pipilotti Rist's light installation in the Kunsthaus Zürich myself. 💜☮️

Peace & Love

🖤Buy

Peace & Love ☮️💜

Lights Out In Wonderland

Fusion Bass and drum jazz electronic by: FPMORINSTUDIO/Francois Pierre Morin.

Take 2 Grooving On 2023

Music to Help promote sleep and concentration. assembled on Ableton Push 3 and Ableton Live 11.  Produced by Bebolution.

Stranded Owl

*This song release 1969

Virgil Kane is the name
And I served on the Danville train
'Till Stoneman's cavalry came
And tore up the tracks again
In the winter of '65
We were hungry, just barely alive
By May the 10th, Richmond had fell
It's a time I remember, oh so well
The night they drove old Dixie down
And the bells were ringing
The night they drove old Dixie down
And the people were singing
They went, "Na, na, la, na, na, la"
Back with my wife in Tennessee
When one day she called to me
"Virgil, quick, come see,
There goes Robert E. Lee!"
Now, I don't mind chopping wood
And I don't care if the money's no good
You take what you need
And you leave the rest
But they should never
Have taken the very best
The night they drove old Dixie down
And the bells were ringing
The night they drove old Dixie down
And all the people were singing
They went, "Na, na, la, na, na, la"
Like my father before me
I will work the land
And like my brother above me
Who took a rebel stand
He was just 18, proud and brave
But a Yankee laid him in his grave
I swear by the mud below my feet
You can't raise a Kane back up
When he's in defeat
The night they drove old Dixie down
And the bells were ringing
The night they drove old Dixie down
And all the people were singing
They went, "Na, na, la, na, na, la"
The night they drove old Dixie down
And all the bells were ringing
The night they drove old Dixie down
And the people were singing
They went, "Na, na, la, na, na, la"

The Night They Drove Old Dixie Down By The Band

It seems there are always horrific conflicts/crises everyday. It seems they never change..the events/the causes/the excuses/the regrets.  I think these events are not as complicated as they seem and ghat the solution is equally simple. We are born with empathy and bond to each other and the planet and we slowly learn/are taught otherwise. We have to find the way back

so how about this time we really follow through with all our holiday cheer and have goodwill towards men all year

lyrics:
Gaza is crumbling
both sides are crying
nothing will be gained

Kiev is on fire
for one man's desire for fortune and for fame

"defund the police!"
"You will not replace me!"
stupid empty words
spoken in hatred
solving nothing
but keep us in a downward spiral

the map to peace
you've always had
but you never found the treasure
always looking in the wrong place
never knowing what to measure

the answer to peace is the golden rule
you know, the one you never do but always say
love your brother as yourself 
and all this goes away

Find your way

Zero

Song by Bryan Ciliberto
Drums - Henri Ciliberto

Every day and night I walk these streets
every crack is named and growing
it will spread until the whole world caves in on itself
soon nothing at all will be unfamiliar
even the word ‘nothing’ will be understood
I stand on a plank overlooking pure bliss
while the silence echos in the back of my brain
they’ll be no word for silence either

help me I can’t help myself
help me I can’t help myself
over the river and through the hood 
to the blue light lounge we go
the fists will fly if someone dies 
well that's just how it goes

The sky looked down on him with yellow contempt
the fog seemed to move backward and follow him through the downtown streets
it was Christmas time and men were erecting a giant tree full of lights
an electric eel slithered into the streets and into the sewer 
as shoppers made there way into a 5 star hotel
all he could think about was his broken belt
it was 7:54 on the downtown street

I stood on the bridge overlooking the river
I could see the sun reflecting a million tiny pearls of light off the water
as the river flowed past it appeared they stood still
I slowly made my way across to the opposite shore

Unfamiliar

La déscente

La descente

The Gardens Of Life

Satellite./ The Gardens  Of Life/ A Forest Of Fear

Well ….. synths, composition 

https://on.soundcloud.com/n1u9HxZB74wW7FYv6

Surfers like Us ….. guitar, co-composition

This time our duo invites you all again into space. We suggest you chase the comet, which sparkles with colors and escapes from us to the unknown territories of the galaxy. We hope you will enjoy this atmosphere. See you aboard our spaceship 🌔💫

Chasing a Comet (w/ Well)

A presultatic clerat

Title:
Pictorial Score

Dates:
11-Dec-2025 (inception), 13-Dec-2025 (finalised), 14-Dec-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund
Graphic Notation by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/track/pictorial-score

Description:

A SUMMARISED ACCOUNT, see my BandCamp or FaceBook page (https://www.facebook.com/norman.freund.545/) for the full story.

It all started several months ago when I spotted an old video from Stefan Goetsch aka Hainbach "Don't push the sounds around - working with a graphic score" Ref. [1], a documentary on graphic (music) scores instead of the more common and traditional Western Staff notation (five lines on a staff ) (Ref. [2]). Then more recently a video from Walker Farrell of MakeNoise "Iteration 4: The Score | Make Noise" Ref. [3], also describing the process and it was this last video that finally prompted me to try this for myself.

My graphic score was created quite naively, a sketch on my iPad using my fingers as a drawing "brush", none the less, it was a means of a capturing my thoughts without interruption, without the impediments of formal limitations of more complicated drawing systems. A pencil and paper would have done the job as well!

I purposely left off verbal instructions on the graphic score, leaving that up to the performer.

I set up one of my analogue synthesisers, the Soma Enner as the main performance instrument. The Enner has a very tactile interface between musician and the music produced and allows a combination of textural sounds, melodic sounds and can capture sounds from the outside world through it's piezo pickup connected to it's front plate. To me the graphic score I had to work with implied movement and the Enner was perfect for this, allowing my hands to intimately define the spatial position in space where the sound is coming from.

Next came my six track digital software based recorder, FindTheBeat. This was the glue of tying together musical ideas performed on the Enner. It also allowed me to change the speed of the sound fragments and have them loop and layered as desired.

I then proceeded to record melodic lines on the Enner, through to the Soma COSMOS in rhythmic mode #5 algorithm (favouring 1/6 rhythms), adjusting the SUP/COM and FB settings to gradually bring in new ideas replacing the old, or just looping portions for a while before moving on to the next idea.

For further reading on the subject of graphical scores, see References [4], [5], [6], [7].

What music would you author given this score? Feel free to use this score for your own interpretations and send me a link to the music you published. In your description please reference the score I used to spread the good karma around.

References:
[1] Stefan Goetsch (Hainbach), 18-Aug-2020, "Don't push the sounds around - working with a graphic score", YouTube video https://youtu.be/cLCt56s5FZA?si=ojBcFd2VxjD_YSPJ

[2] "Staff (music)", Wikipedia, https://en.wikipedia.org/wiki/Staff_(music)

[3] Walker Farrell, "Iteration 4: The Score | Make Noise", YouTube video, MAKENOISE, 17- Sep 2025, https://youtu.be/uHlq6yit49k?si=GkK8MCcrDZGxmmiA

[4] Brett Boutwell, 30 Nov 2012, "Morton Feldman's Graphic Notation: Projections and Trajectories", Cambridge University Press, Journal of the Society for American Music , Volume 6 , Issue 4 , November 2012 , pp. 457 - 482.

[5] Morton Feldman, https://en.wikipedia.org/wiki/Morton_Feldman

[6] grinblat, 30 Jul 2024, "John Cage: Water Walk [ʍ/ score] (1959)", YouTube Video reproducing television screening 1959 , https://youtu.be/234j2Av1EOM?si=NZLwTkxcV9-q0gWF
Description:
Begin Quote:
John Cage (1912–1992)
Water Walk, for solo television performance involving a large number of properties and a special single track tape (1959)

John Cage, performer

Second Performance, 24 February 1960, “I've got a secret”
...
End Quote.

[7] "John Cage Trust", https://johncage.org/

Pictorial Score

Composed by: Joan Manuel Serrat: https://www.ouvirmusica.com.br/joan-manuel-serrat/511067/
Version, Arrangements & Production by: Chivicke HomeStudio

A toda orquesta

Autumn Ballad (Orchestral - cover-version - Joan Manuel Serrat )

⚡ Synthwave energy unleashed! ⚡ Shock the Algorithm returns with a brand NEW album — Ultraviolet Cosmos.
https://shockthealgorithm.bandcamp.com/album/ultraviolet-cosmos

🌌 Available NOW on Bandcamp — grab your digital copy today and step into the neon! 🌌

I was trained in tradition, yet I stepped beyond its walls. Sound is my language, not to decorate but to liberate. Composer, performer, and listener — one fire, three sparks, inseparable.

I write and compose to uncover what is hidden: the truth buried beneath power, the dignity of the ordinary, the current of awareness that flows through all.

I belong to no authority, only to sound, to truth, to the silence from which all begins. My work is not mastery, but remembrance — a manifesto in every note, every word, every breath.

I am a composer of the 21st century: a studio artist. The studio is my forge, my battlefield, my sanctuary. Machines hum like choirs, circuits burn like torches, cables twist like roots in the earth. Tradition breaks open in this fire — the score turns to light, the instrument becomes the world itself.

To be a studio artist is to seize sound at its rawest, to sculpt electricity and breath as one, to summon the invisible power that belongs to all. Here music is not bound by walls, not enslaved by profit, not tamed by form. It is free, untouchable, unending — a living flame for the century that is ours.

Zero

Anthony Cutrera Morales

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