One of my super sensory sound mediation projects: Planetary Cymatic Resonance ... P-C-R's music is based on tunings calculated from natural frequencies found in our universe like the movement of planets (planet tones) or the resonances of molecules. 

 https://soundcloud.com/p-c-r

An excerpt taken from an improvised live sound meditation at Essentis in Berlin on Jan. 01 2016. Based on the resonance of the Synodic Moon, the frequency is 210.42Hz. To further portray the cosmic alignment, pitch and time are connected. The corresponding tempo is 98.6 beats per minute... all rhythmic elements therein adhere to this relationship.

Corresponding to the guidance of the Cosmic Octave, this frequency stimulates sexual energy, supports general and erotic communication. The color spectrum is orange and represents Svadisthana - the second or navel chakra.

Planetary Cymatic Resonance - Moon (210.42Hz) Somatic Essentis

Craig Dukes Performs Chopin Nocturne Op.37 No.1 In G Minor

Movement I: 0:00
Movement II: 1:53
Movement III: 3:45

Here is a recording of "Brass Quintet No. 1," which I composed in 2017. It contain three movements and features the following musicians:

William Harvey - Trumpet 1
Ian Cochran - Trumpet 2
Kyle Ko - French Horn
Andy Strain - Trombone
Tiffany Bayly - Tuba

Link to Score: http://feonaleejones.com/wp-content/u...

Performance Notes

Movement I:  In this movement I experimented with different five-note sonorities, which I then used as pitch material for a five-note melody that I turned into a really long canon. In the beginning it begins really sparse and bare, fading in one voice at a time. It slowly builds up gradually, and at the climax all five voices are suspended together on three whole note chords that give it an epic moment where they are all singing together in unison. The voices slowly move together along three different harmonies, which lead back to the long canon. From there, I add in a short three-note motive to move the piece along and give it momentum to creep to the end without dragging.  

Movement II:  In this movement, I limited myself to only using the rhythmic value of quarter notes to write the entire piece. I was allowed to displace the quarter notes on different time points along the measure, but the value of one beat had to remain constant. I used canonic techniques and imitation to give the piece more contrast and polyphonic activity between the voices. Since it became really complicated when I brought too many voices in at once, I saved the multi-voice complicated section for the climax, when all the voices are playing together. Leading up to the climax, I slowly introduce other voices, keeping it at two to three voices at once to minimize complexity. The original tempo of the piece was 172, which turned out to be too fast. I changed the tempo to 73 in order to bring out all the details and syncopated rhythms between the different voices. 

Movement III:  In this movement, the goal was to emulate the rhythms of the hip-hop, electronic, and pop music genres. I wanted to imitate music that was mainstream and modern to see what it would sound like when transformed into a brass quintet. I listened to a lot of pop music and realized it was not all in straight 4/4 time (4-to-the-floor rhythm). A lot of it was syncopated and not always predictable. I first wrote a bass line, which I had the tuba play and occasionally be doubled by the trombone. I also had a short two-bar riff, which I had the French horn and Trombone and sometimes the French horn and Trumpet play together in harmony. I used the Trumpet to play hi-hat rhythms, which were often doubled or imitated with the second Trumpet. I used canonic techniques and imitation to build momentum, especially at the end where it has a driving canonic arpeggio riff that ascends and descends into everyone playing the riff in unison. From there, the arpeggio riff descends in a canonic fashion and ends on everyone playing the “A” bass note three times.

Brass Quintet No. 1 (3 Movements)

Blue Eysis

For a further auditory excursion into my musical offerings, please explore my other SoundCloud accounts; this one's maxed out!

@feonaleejones1
@telepathicbirds
@feona

Feona Lee Jones currently lives in CA where she works as a freelance composer, pianist, and educator. As a composer and pianist, she continues to explore her own musical language, influenced by classical, jazz, North Indian classical, avant-garde film, experimental theatre, and electronics. Her music has been performed in the United States, Iceland, and Finland. She has been commissioned by prestigious ensembles, organizations, and artists such as the Del Sol String Quartet, Composers Inc., Awesome Orchestra, The Humane League, Opera on the Spot, Luger Hofmann-Engl, and Invoke String Quartet. Never satisfied with a single medium, she has worked in concert music, film music, interactive games, and most recently, opera.

Brass Quintet No. 1 (3 Movements)

Feona Lee Jones

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