The blur within

This is a remix of my piano song "Sanity". Really appreciate comments/feedback as this genre is quite new to me:).

Sanity

Sanity (remix)

A new ambient track, composed in 2021. 
This composition has many things that differentiate it from previous releases; a different style in composition, more related to orchestral music, a different mood and a totally different type of sounds and arrangement, leaving more space for atmosphere, chords, melodies, breaths, string sounds.

Free download available!

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Terrain

rockon2021

making tracks

Taken form the album "Bloom". Check it out! https://www.stereolake.com/bloom

Bloom

Time to Fly High

Skeleton Crew

Sean Gill: voice (UK)
Francisco Carregado: Keyboards (ARG)
Lucas Diaz: Guitar, bass and audio mix (ARG)

Also on Youtube
https://www.youtube.com/watch?v=eswh0d0GRpk

While I fall...
ELEMENTUM

Verse 1:

I took a little trip down to my local
I could have sworn that maybe I was a yokel
But you didn’t care you said my heart was warm and  shines like an opal
And I said i’m just a mirror and the shine was you being hopeful
 
Chorus:

Though while I fall 
my feet won’t touch the ground 
I know

And though
We are lost and found
I swear that I 
Won’t wait

Verse 2

I met this dude he thought he was so cool
Till I put him down a peg oh what a tool
It’s a good thing you don’t mind looking at this old fool,
Because that was a mirror and I’m wasted on you

Chorus 2:

Though while I fall 
my feet won’t touch the ground 
I know

And though
We are lost and found
I swear that I 
Won’t wait


Solo

Chorus 3:	

Though while I fall 
my feet won’t touch the ground 
I know

And though
We are lost and found
I swear that I 
Won’t wait

While I fall

Find this song on your preferred streaming service---> https://www.williamsanford.rocks/2021/06/23/beloved-bird-ernie/

Follow me on Instagram---> https://www.instagram.com/williamsanfordmusic/

Become a Patreon---> https://www.patreon.com/williamsanford

Beloved Bird, Ernie is available everywhere you enjoy music. This was written and recorded in 2019 after the death of my mother, Faith Christine Sanford.

She had a little lovebird named Ernie that she took with her to all of her events and appointments. The title of the song taken from a line in her obituary listing the members of her family she is survived by, that last of which was; her beloved bird, Ernie. 

The cover of the single is a picture of my mom at only 14 or 15 years old holding her first daughter (my older sister). Ernie is superimposed over the picture in a late 90s photoshop fashion as is the case with a lot of my covers. 

The song also features two recordings of my mother’s voice. The song opens with my mom and another older sister congratulating Ernie for performing a trick. The song then closes with with a recording of my mom and one of her friend’s comforting and coaching a little girl as she attempts to hold Ernie. You can hear Ernie chirp towards the end of the clip. 

The song was originally meant to be a part of a larger collection of songs dealing with my mother’s death, my emotions surrounding that and songs about other family and fears about losing them. However, I did not feel the material was strong enough for a wider release. You know the saying; “kill your darlings.” This track and another releasing tomorrow for Father’s Day are two tracks the are salvaged from that project. 

Just type William Sanford and Beloved Bird, Ernie into the search bar of whatever music platform you’re using or just ask “Hey Alexa,” “Hey Google,” or “Hey Siri” to play Beloved Bird, Ernie by William Sanford. 

I hope you enjoy.

Find Elsewhere

Beloved Bird, Ernie

This uplifting, mellow, jazzy semi electronic track has a distinctive harp-like lead melody which is carried by a monotonous bassline and groovy keys. The harmonic changes create suspense which is further emphasised by a varied song structure. This makes it perfect for fashion shows, commercials, exhibitions or documentaries. It's groovy vibe, cool demeanor and very varied instrumentation give it a somewhat sophisticated feel which makes it ideal for video production or -games.

Purchasing this track permits you to use it unchanged in your own non-commercial productions with an attribution to Covert Acoustics.

For commercial and derivative licenses, please visit our Pond5 profile where you can buy this track for a number of additional uses.
https://www.pond5.com/artist/covertacoustics

Backtracks

Aloof

Springs Songs (for Tenor and Chamber Ensemble)
Duration: ca. 20'

MOVEMENTS:
I. English Sparrows (Washington Square) (Edna St. Vincent Millay)
II. April 5, 1974 (Richard Wilbur)
III. Done With (Ann Stanford)
IV. The Widow’s Lament in Springtime (William Carlos Williams)
V. Spring Rain (Sara Teasdale)

Performers: American Modern Ensemble; Alok Kumar, Tenor
For More Information: https://robertpaterson.com/spring-songs
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=spring%20songs%20-&main_page=advanced_search_result&search_in_description=1
Also available as a version for tenor and piano: https://robertpaterson.com/spring-songs


PROGRAM NOTE
Spring Songs for tenor and chamber ensemble or piano is my third song cycle celebrating the seasons. As with the first two, Winter Songs for bass-baritone and Summer Songs for soprano, this cycle contains settings of poems by various American poets.

Whereas both Winter Songs and Summer Songs end with scenes in New York City, Spring Songs begins with New York: a setting of English Sparrows (Washington Square) by Edna St. Vincent Millay, a poem about a scene that takes place in the morning in Greenwich Village, a neighborhood in New York City where Millay lived in the early 1900s. The second movement is a setting of April 5, 1974 by Richard Wilbur, a poem Wilbur wrote in honor of Robert Frost’s one-hundredth birthday, and I interpret as being about overcoming self-doubt through wisdom, and about understanding the change of seasons, but also a change of mind. The third movement, Done With by Ann Stanford, I interpret to be about death and rebirth. Stanford symbolizes this by a house being torn down and the ground paved over, the now suffocated plant life yearning to break through. The Widow’s Lament in Springtime, the fourth movement, is a setting of a poem by William Carlos Williams. I interpret this poem as a modernist, pastoral elegy that uses images of nature to lament the death of a loved one. The final movement, a setting of the poem Spring Rain by Sara Teasdale, is about a happy memory of a lover brought about by an evening thunderstorm.

Spring Songs was commissioned by Rick Teller for the American Modern Ensemble.

AME ARTISTS
Robert Paterson, Conductor
Alok Kumar, tenor
Grace Law, flute
Nuno Antunes, clarinet
Samuel Z. Solomon, percussion
Geoffrey Burleson, piano
Victoria Paterson, violin
Peter Sachon, cello

The Four Seasons

Spring Songs - IV. The Widow’s Lament in Springtime (Text by William Carlos Williams)

Northern Stories

Until Next Time

ELEMENTUM
Es un experimento instrumental, vocal y colaborativo desarrollado por:
Lucas Diaz (Bateria, Bajo y Guitarra)
Martin Conde Leroni (Teclados)
Marcos Muñoz (Guitarras)
Agustín Tagliabue (Voces)
Invitados: 
Xourel PS (Suiza) guitarras
GAZg (Dinamarca) mix & master de audio
Sean Gill (UK) voces
Francisco Carregado(ARG) teclados

While I fall

Elementum