Just... une bonne tasse de couleur...pour moi, pour toi, pour tous!!

wonderful acustic guitar and voice  - J’adore la langue française - votre voix sonne juste beau - vous devez juste écouter

Oxygen

New experiment with piano and lo-fi sounds. Please comment/like/repost if you like the track! Thanks in advance🙏

Thoughtful Beginning (lo-fi)

Reprise folk acoustique western mood, fixée en 2017, enregistrée avec une section rythmique composée d'une batterie et d'une contrebasse.

Emmanuel Della Torre : guitare acoustique ; Renaud Lemaître : batterie/percussions & Emmanuel Chabbey : contrebasse.

Avec l’aimable autorisation des Editions Et Productions Sidonie et Melody Nelson Publishing

Couleur Café

After publishing our Collaboration „Multidimensional“ which had been a great success, I have started another one with Special Cecilia based on her vocal track „La meme planete“, where she meets with her lyrics perfectly this new age of a turning point. Thanks dear Cecilia for having created this great track and I hope you listeners will love this work.

Credits: 
@specialececilia
Vocals & Lyrics

@nobsmeyer
guitar (Music Man Majesty Ebony 6 string)
bass (Rickenbacker 4003)
production

La Meme Planete featuring Special Cecilia

La Meme Planete - featuring Special Cecilia

Choices

Radio Silence

FUIR

I WAS CRYING SINGING THIS DEAR GOD....I PRODUCED THIS TRACK AND DID THE VOCALS. ANAM HERMIT - @anamhermit: HE WROTE THE ABSOLUTELY BEAUTIFUL LYRICS, IN ITALIAN, I TRANSLATED THEM AND I ASSORTED THE LYRICS TO TRY AND SEE IF I CAN DO THIS, CREATE A SONG FROM ANAM HERMIT POEM........ TRIED TO CREATE ALMOST A HOOK OF SORTS AND CAME UP WITH "NEVER THE STARS YOU STOLE FOR ME, FALL."
THANKFULLY THE ITALIAN JOB - CARLO - @the-italian-job-remix: MIX AND MASTERED THE TRACK !!! YAYYYYYYYYY !!! IT'S BEAUTIFUL!
THANK Y'ALL SO VERY MUCH!
I WISH HAPPINESS AND PEACE FOR Y'ALL!
XOXO!

LET ME KNOW WHAT Y'ALL THINK..... 🤔

LYRICS:

FIRST THING
 I HAD OF YOU 
WAS THE VOICE
AND THAT VOICE 
WAKES ME UP
 FROM THE COLDEST 
LETHARGIC DAYS

THEN CAME YOUR EYES
TIRED AS A WARRIOR
 RETURNING FROM 
A THOUSAND WARS
AND SWEET AS A CHILD 

CAN YOU TAKE ME ELSEWHERE? 

...AND NEVER WOULD THE STARS YOU STOLE FOR ME,
          FALL
AND NEVER WOULD THE STARS YOU STOLE FOR ME,
     FALL

WHILE YOUR MOUTH KISSES 
ON THE CONSTELLATIONS 
OF MY FRECKLES
WHILE YOU RUB ME DOWNCAST
 FROM THE MOONLIGHT

I WISH THIS FIGHT
       OF OURS
 WOULD NOT
 HAVE TO END 

...NEVER WOULD THE STARS YOU STOLE FOR ME,
       FALL
AND NEVER WOULD THE STARS YOU STOLE FOR ME,
    FALL

IF IT BE A STORM
OR A CLEAR
     SKY
IT DOES NOT MATTER

...NEVER THE STARS YOU STOLE FOR ME,
      FALL
AND NEVER WOULD THE STARS YOU STOLE FOR ME,
   FALL

YOU TOLD ME A STORY
WITH YOUR WORDS
BUT NOW
  LET ME KISS YOU
 I'M READY OVER CLIMB
OVER THE SUNSET
  BUT TAKE MY HAND

I WANT TO SING LIKE CRAZY
WITH HAIR FLYING
  AS RIDE
TOPS DOWN
IF ONLY
 FOR A MOMENT
  FEELING LUCKY

EVEN IF I DO NOT KNOW
 WHERE 
YOU ARE TAKING ME
OR WHEN 
WE WILL ARRIVE

CAN YOU TAKE ME ELSEWHERE>?

FIRST THING 
I HAD OF YOU 
WAS THE VOICE 
 AND THAT VOICE WAKES 
ME UP FROM
 THE COLDEST 
LETHARGIC MORNINGS

  THEN CAME YOUR EYES,
TIRED AS A WARRIOR
  RETURNING FROM
A THOUSAND WARS,
 AND SWEET AS A CHILDS 

I DREAMED FROM THE FIRST EVENING
TO HAVE YOUR BREATHE ON ME
AND YOUR ARM
FOR A PILLOW

I DREAMED FROM THE FIRST EVENING
TO HAVE YOUR BREATHE ON ME
AND YOUR ARM
FOR A PILLOW

I WISH THIS FIGHT
 OF OURS
WOULD NOT HAVE TO
  END 

  ...AND NEVER WOULD THE STARS YOU STOLE FOR ME
       FALL
...AND NEVER WOULD THE STARS YOU STOLE FOR ME
   FALL

WHILE YOU RUB ME DOWNCAST FROM THE MOONLIGHT

WHEN I WOKE UP
   I FELT ALONE
IT'S ALL SO VERY
 AND SURELY, 
IT'S SADLY

WHILE YOUR MOUTH
  KISSES ON THE
   CONSTELLATIONS
    OF MY FRECKLES
WHILE YOU RUB ME
 DOWNCAST
 FROM THE
  MOONLIGHT

YOU TOLD ME A STORY
 WITH YOUR WORDS
BUT NOW LET ME
 KISS YOU
I AM READY TO CLIMB 
OVER THE SUNSET
  BUT TAKE MY HAND

I WANNA SING LIKE CRAZY
WITH MY HAIR FLYING
AS WE RIDE TOPS DOWN

AND IF ONLY
 FOR A MOMENT
 FEELING LUCKY

EVEN IF I DO NOT KNOW
 WHERE YOU ARE TAKING ME
 OR WHEN 
WE WILL ARRIVE

BE IT A STORM
OR A CLEAR SKY
IT DOES NOT MATTER
 
DO YOU KNOW
WE LOVE THE STARS?

DID YOU REALLY 
CAPTURE THEM
FOR ME?

'THE STARS YOU STOLE FOR ME'(PROD THE ITALIAN JOB & KENNA-RAE _WRITTEN BY ANAM HERMIT_VOCALS ME:)

'DOUBLE SHOT CAN' 
 PRACTICE SESSION # 2 
 
VOCALS KENNA-RAE. 
  PROD BY HEAR ME BEATS 

WHICH ONE IS BETTER!? ..... I CAN'T DECIDE ANYMORE HALP ME ..I.. FACCKKKKKKKK

I POSTED A DIFFERENT VERSION PREVIOUSLY...... 
   IT'S THE ONE WHERE I AM SCAT SINGING WHICH I AIN'T DONE IT BEFORE  
           LIKE THATTTTT WHAAAA
    AHAHAAA!!!    🤣😆😬😳😳😳 IT JUST CAME OUT .....
                     I THINK 🤔 IT'S  
            THAT TH3 PREVIOUS 
          'DOUBLE SHOT CAN'
 WITH THE SCAT SINGING......... IT'S THE
               TRACK FEELS LIKE IT WAS
       MADE FOR ME 
              TO GET JAZZY 
AND JUST LET GO😳😳😳
 I DUNNO IT'S VERY EMBARRASSING 😳 
        I HAVE TO ASK Y'ALL BECAUSE I NEED EXTERIOR EARS THAT ARE NOT MY OWN BAHAHAA 🤣😂😆

THANK YOU HEAR ME BEATS !!! 
-HEAR ME BEATS- 🥰 MADE ALL OF THESE 
       AND I'M GOING TO BE POSTING MORE .......

MUCH PEACE AND LOVE TO Y'ALL THANK Y'ALL 😊 🙏 💕 ❤️ ✨️ 💓 😊 



KRAE- 'DOUBLE SHOT CAN'🆕️(PROD BY HEAR ME BEATS💓) SESSION☆ 2 ⁉️- which IS BETTER?! AHHH🆘️

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.

Couleur Café

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