january

Not Living There Anymore

Qwita

Travel Light

Mastered by: Janne Hakanen (jannehakanen.com)

Lähdetään pilkkimään!

It's complicated
And i wonder
Where does it hurt
When you are not there?

Adro The Toxic Waste, John Page Contraband (music)
Solen Feyissa (cover image) via unsplash
Ded to my bestfriend Antonio
Lost but never forgotten
Rest in power

Where Does It Hurt (demo)

album "SYNCHRONICITY" 
released  "11 june 2018"

Your Connection

DJ Fantastic dish out the best afrobeats Sound out of this new EP called NEW-WORLD
which shows up how talented singer he is, with his dynamics voice that he's not just only professional Disk-Jockey( DJ ) 
Also a Talented and Gifted when it's come to music
He made a song called NEW-WORLD all alone without featuring any Artist and ILEWA with just the Raper Artist who rap in the second Verse
Featuring Nigeria Super Star Artists for the rest Tracks
Including. 1. Zlatan  2. Skales  3. Yonda  4. Pepenazi  5. Jaypizzle.  and many more 
Keep Listen and enjoy.

DJ Fantastic - Show Colour (feat. Pepenazi Kenny Wonder)

Forest Shadows for Solo Marimba.
Duration ca. 8'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1224
For More Information: https://robertpaterson.com/forest-shadows

PROGRAM NOTES

While hiking, I am always struck by the beautiful imagery created by shadows on the forest floor. These shadows often make even small trees seem larger than life, while at the same time creating a two-dimensional world out of something entirely three-dimensional. In Forest Shadows, I evoke these images through the use of long tremolos and arpeggiated chords. The piece moves from pastoral sections that evoke nature scenes by nineteenth-century French painters such as Theodore Rousseau (for example, his painting The Forest in Winter at Sunset), to more powerful moments that might be compared to images in works by Romantic landscape painters such as Caspar David Friedrich.

I also draw inspiration from performers. Since Makoto’s only request was that I write him a piece inspired by either the forest or wood, this was easy. Hearing him perform live, I also was captivated by his musicality and sensitivity, and also by the full, robust sound he elicits from his marimba.

Forest Shadows was commissioned by the ISGM New Music Commissioning Fund for Makoto Nakura.

Wood and Forest

Forest Shadows - for Solo Marimba

String Quartet No. 1
Duration: 22'
Publisher: BIll Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1026
For More Information: https://robertpaterson.com/string-quartet-no-1

PROGRAM NOTES
My original intent with this work was to write a set of four independent miniatures. After writing the first maximally-sized one, I decided to change course: these four "miniatures" are now my String Quartet No. 1.

Although these four movements are designed to be independent, small amounts of material are used interchangeably between each movement. Most notably, material from the first two movements is used in the third, and material from the third movement is used in the fourth.

The most prominent aural feature of the first movement, Fast and Sprightly, is the recurring "clarion" motive. This motive evolves into various thematic gestures and also reappears in the next two movements. Another prominent feature of the first movement is the use of jazz references. The string quartet is required to "swing," a style of playing usually only utilized by jazz musicians and big bands.

The second movement, Logy, begins by parodying North American, southern-style country waltzes. While composing this movement, I had visions of my mother interrupting "Three good ol’ boys fiddlin’ on a porch in Rabun Gap, GA," quipping at them to stop. The quipping is represented by the first violinist interjecting the "Rob–ert" theme. This strange, surrealistic daydream probably originates from memories of my mother calling my name from the other side of the bedroom door when I was a boy.

A section called "Andrew Lloyd Webber Disease" occurs in the middle of the second movement. This section is a schizophrenic alternation of a sick, dissonant, violin duo with an Andrew Lloyd Webber-sounding viola and cello duo. By the end of the movement, my mother joins the "Good ol’ boys" for a final song, after they have all become sick from eating too many boiled peanuts.

The third movement, Sad, Luscious Adagio, uses material from the first and second movements, but at a much slower tempo. Each player has a featured solo in this movement: the cellist plays a solo in double-stops and the violinist plays one made up of almost entirely artificial harmonics. The second violin and viola solos are intended to highlight the instruments’ singing qualities and the performers’ lyrical abilities. As with Logy, I use material recycled from previous movements.

Although the fourth movement, Energetic Polka, is not a strict polka, it has a polka-like beginning. It also contains a few short "quotes," the most notable one being the appropriation of the melodic line from the theme song from the television show The Love Boat.

Material from other movements is also used in Energetic Polka, particularly by the cello. The cellist never has a chance to play the "Pseudo-fugato" theme in Logy, so the cellist "aggressively" reintroduces it in this movement. Energetic Polka ends with a section entitled "Hyperfast shimmy and shake."

Why I Try

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