Go Time (Freestyle) - $upaVillian (prod. MF DOOM)

ALFONSO LLORENTE: VOCALS, ACOUSTIC GUITAR, ELECTRIC GUITAR & KEYS

My personal approach to this great classic

SAD LISA (Cat Stevens)

Walking by four-note chords.

This work can be considered a continuation (or a second track of the same album) of one of my previous works "Parsimonious Trichords".
This is the case since in the elaboration of its harmonies I have followed the same line of work but taking one more step in the current work. In the harmony of the two works I have used the Tonnetz. This comes from the German term "Tonnetzwerk" which means network of tones. The prototypical case is the one that is formed by the major and minor chords (of three notes) organized in such a way that those that are contiguous only differ by a single note (with only a semitone or tone of difference) and on this network we can go chaining the chords following different itineraries or paths thus defining the harmonic progression. In the work "Parsimonious Trichords" I used this Tonnetz with three-note chords. The present work tries to go a step further and use four-note chords to define the Tonnetz. To achieve this I have applied the ideas developed by Dmitri Tymoczko in his excellent article "The Generalized Tonnetz" (dmitri.mycpanel.princeton.edu/tonnetzes.pdf). The objective will be the same: to get a network that organizes the chords (in this case of four notes) in such a way that those that are contiguous continue to be differentiated by a single note. In this case, to achieve this, it is necessary to use 12 chords of dominant seventh, 12 chords of half-diminished seventh, 12 chords of minor seventh and 6 chords of French sixth. To achieve To achieve the harmonic progression, on this network of chords I have defined 7 itineraries (one for each part of the work) of the so-called Hamiltonians, which means that they go through all 42 Tonnetz chords once and only once. As can be assumed, the chord succession that is achieved is also very parsimonious in the sense that there is very little variation between a chord and the one that follows it.

The work of creating the Tonnetz of four-note chords and as well as the elaboration of the itineraries I have done it by programming a series of algorithms in Python language.

Regarding the rhythmic aspect of the work, I have used an archetype: the rhythmic "motif of the walker" (half, quarter, quarter) for two reasons: one, which is quite evident, to reinforce the concept of itinerary or path and the other as a small tribute to the recently published book "Paisajes del Romanticismo musical" by the composer and theorist Benet Casablancas since it is one of the many characteristics that he analyzes about the music of the Romantic period.

For all these reasons, the exhaustive title of this work could have been "Walking through the Hamiltonian itineraries of the graph (of minimal variation) of four-note chords." which I have not dared to use for obvious reasons.

Regarding the interpretation, it should be said that it is done through NotePerformer playback engine.
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Traducción de esta introducción al castellano:

https://drive.google.com/file/d/1daCJQkXXW8_1gj9H7pzbkHWQPANP6T7L/view?usp=sharing

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Traducció d'aquesta introducció al català:

https://drive.google.com/file/d/1DByRKuTZAfrodnbwF_1muzsVB3pV62FY/view?usp=sharing
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Walking by four-note chords

Ambient Dreamscapes for you to enjoy. Relax, unwind, meditate and chillout

CTHULHU MYTHOS - STARK REALITY

Totem Voice

None of us is a 
Simple utility. Our
Hearts cry out for more

::

Original music & haiku poetry by Bob Weathers

None of Us

Polycondensation

The Frogman's Arise

For what we can and can't explain

Did You Hear? for mixed SATB choir (a cappella with divisis, SSAATTB), Duration: ca. 6'. Commissioned by the Vermont Youth Orchestra Chorus, Jeffrey Buettner, director. World Premiere: Vermont Youth Orchestra Chorus, Jeffrey Buettner, director, April 7-8, Elley-Long Music Center, South Burlington, VT, USA, 2011. Publisher: Bill Holab Music.

BUY SHEET MUSIC: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=918&zenid=e34ef5f16978aad6ca798016648d2750

PROGRAM NOTE
The idea for Did You Hear? was conceived by the Vermont Youth Orchestra Chorus and its director, Jeffrey Buettner. They asked me to write a piece that would reflect their lives, something they deal with on a daily basis, so we settled on the theme of rumors. Since I could not find an appropriate text, I enlisted the help of writer and librettist David Cote, one of my friends and frequent collaborators.

Did You Hear? was commissioned by the Vermont Youth Orchestra Association while composer in residence through a Meet The Composer/League of American Orchestras Music Alive Residency.

TEXT
Did you hear?			No. Hear what?

You won’t believe—		I will. Tell me.

You won’t believe if I say.	Tell me I promise—

It just happened today.	I promise, I won’t tell a single soul.

Do you want to hear?		Whisper in my ear.

No way. Way!
Sick! Weird! Gross! Insane!
A friend of a friend of a friend said they heard it first.
I’m gonna tweet it. I have like fifty-two followers!
Tweet. Tweet. Tweet. Tweet! Twitter. Twitter.
Retweet. Retweet. Retweet. 

Shhhhhh!
Here he comes. 

They say your ears burn when someone talks about you. My ears are burning. Why? Nobody notices me. 

What is wrong with him?	What is wrong with them? 
What is wrong with her? 	What is wrong with me? 
What is wrong with us?

I’m a freak. I’m like that song.
I’m a freak; I don’t belong.
Something’s wrong with me.
After I’m gone, will anyone talk about me? 
Will I disappear?

Hey, everyone. Did you hear?

Did you hear about SARAH? 

No. What? Tell me!

Eternal Reflections

Buy on Amazon

Did You Hear?

See you space cowboy

“I don't remember my dreams too much. I hardly have ever gotten ideas from nighttime dreams. But I love daydreaming and dream logic and the way dreams go” - David Lynch
​
I love to express stories through music and explore the visceral space that surrounds them. Sometimes I’m interested in creating sound collages, or tapestries of sound that are varied in their nature but unified in their aesthetic aim. Other times I surrender to something lyrical. Most of the time, I feel compelled to make sense of the world, which is impossible. But, after some work, which includes frustration, and occasional eureka moments, I find deep meaning and satisfaction in my music, especially as I near the finish line and embark on a collaborative journey with fellow creatives. 

www.dikachartoff.com

For what we can and can't explain

Dika Chartoff