Name: Company Man by Chas Evans
Duration: 2 min 34 s
Description: A song about a man working his whole life, giving up everything and coming up short in the end.

Nice man, I really like the acoustic guitar

Awesome tune - Brings me back to Cats In The Cradle

Great lyrics and super riff. Sounds very powerfull

Like a Boss song, great guitars, text and voice, Super track

Original composition.....Alejandro Gonzalez M.

Desiderium

A song about a man working his whole life, giving up everything and coming up short in the end.

Company Man

Fading Away

Lyrics

Make a palace out of this dreary room
Harsh electric lights reveal a hidden allure 
Come, take your glass, let the grimness go
Fragile, unlikely charm at moments so rare
Old coat, a smoke, you say: “Let’s have one more”
“Good night” on the street, I make my way home
Lonely night, your image clear
The fog will lift by morning light

Dreary

La fin du chemin?

Don't question.  Don't feel:

Lead vocals & harmonies by Christian from 'To See Beyond the Shadows.'
Additional vocals by Robert from Patient 82.
Keyboards and drums played by Robert from Patient 82


Lyrics:

Verse 1 :

So many times, I've been here.
Shackled by a past lost in tears.
A slave to fears I can't overcome.
I turn my back on everyone.

Chorus 1

Don't question, don't feel.
Don't feel.

Verse 2

Within these walls there's safety.
Just a numbing of feelings that shape me.
I can't open up; the damage Is done.
I can't, not for you, not for anyone.

Chorus 2

Don't question, don't feel.
Don't feel.

Middle 8

No. I can't.
I'm bound and gagged.
By fear Inside.
How It paralyzes.

No. I can't.
These wounds, Implant.
A fear, so strong.
That I just can't see.

No. I can't.
I'm bound and gagged.
By fear Inside.
How It paralyzes.

No. I can't.
These wounds, Implant.
A fear so strong.
That I just can't see.

Verse 3

So how am I supposed to change this.
Just move on every time the fear hits.
In the end, I know I'll regret this.
But tonight, won't you, stay with me.

Chorus 3

Don't question, don't feel.
Don't feel.
Don't question, don't feel.
Don't feel.
Feel.
Feel.
Feel.
Feel.

Feel.

Don't question.  Don't feel.

Don't question.  Don't feel. (Patient 82 Ft. To See Beyond the Shadows)

Utopia

The story of dementia and how music can be one way to help overcome its greatest challenges

Keys To His Memories Final Master

Here ends my adventure with the Tonnetz! This is the piece that closes the series of four works that I have composed based on it.


In the following links you will find the PDF files, where I explain it in detail with the theoretical presentation of the current piece.

Explanation in English language:

https://drive.google.com/file/d/1YbM9PspOSuMw0mqS46Eyzq1bCTQJEZUr/view?usp=sharing

Explicación en castellano:

https://drive.google.com/file/d/1ezUhGhdC13jp7eCEq1SnBujtXhLKryhK/view?usp=sharing

Explicació en català:

https://drive.google.com/file/d/1H1dI8ZNRwx9iVITabbns0v4bAok1bbgN/view?usp=sharing

I have also created an album where I have gathered the 5 pieces that I have composed following the pattern of the Tonnetz. Each of the first four pieces (all of them for piano) follow the scheme of a different Tonnetz, what differentiates each one of them is the certain number of notes that their chords have. The pieces are presented ordered according to this number of notes that their chords have: 2, 3, 4, 6 notes respectively. In the fifth piece (which is orchestral) the four Tonnetz intervene successively in their different parts.

https://soundcloud.com/ramon-capsada-blanch/sets/the-4-tonnetz-of-the-chromatic

Fifth chords chained with common notes

8:48 PM Tuesday, November 29, 2023. We are here.

Nobody loves you like your mother

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

Company Man

Chas Evans

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