Brava! The rhythms are fantastic. I miss tonal modulation but maybe that's intended.

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

https://cassandramiller.wordpress.com/2010/05/14/bel-canto/

Bel Canto

Commissioned by Ensemble Kore with the support of the Canada Council for the Arts

Recipient of the 2011 Jules-Léger Prize for New Chamber Music (Canada’s highest honour for composition)

Marie-Annick Béliveau, mezzo-soprano
Geneviève Déraspe, alto flute
Xavier Brossard-Ménard, clarinet
Jonathan Barriault, guitar
John Corban, violin
Pemi Paull, viola
Yegor Dyachkov, cello

The piece is above all a portrait Maria Callas. It’s based on the opening statement (the opening sighs) of Puccini’s Vissi d’arte – Maria Callas’ live version of it, with all the full generosity of her vibrato, swoops and portamenti (all the things outside of notation). At the beginning, it’s as if we hear her young voice, and towards the end, the voice of her later years.

The path of the piece through time is not only about the ageing of an extraordinary woman, but also about the listener. Time slows down to allow for an engagement with detail, for a closeness or submersion in the sound, and possibly for clarity or meditative stillness.

Two simultaneous ensembles perform here without coordinating with each other. This makes for layers of melody, creating a sonic depth of field – echoing perhaps the depth of the Greek landscape in which I felt the warm revelation that originally inspired this piece. Moreover, to separate the ensemble into two smaller groups, without conductor, enables an intense chamber-listening between the players. This intimacy allows them to carry out with great musicality all of the non-notatable things I mentioned earlier – the swoops and vibrato, and all the unnamable subtleties of vocality.

Bel Canto

Bel Canto, Ensemble Kore with Marie-Annick Béliveau (2010)

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

Intro @0:00
Movt. 1 @1:16
Movt. 2 @5:02
Movt. 3 @6:50


String Quartet:

Tammie Dyer (Violin 1)
Ilana Blumberg (Violin 2)
Alexander Volonts (Viola)
Rebecca Roudman (Cello)

Recorded by: Jason Eckl

String Quartet 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
@feonaleejones
@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.

*Album artwork photographed by Miles Newcombe

String Quartet No. 1 (3 Movements)

Feona Lee Jones

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