I really like how you cut this up. Nice work.

love it man, i didnt know where it gonna lead and could hear it on very exciting scenes

cool music for real.....very original and nice

samples of piano I can't take credit but I cut em up. and thanks so much 

around the 3 minute mark I feel I really just took it my own way

Perfect experentaly electronic music. Very good job. 🤩🤩🤩

Est 1

Lyrics largely written while descending Helvellyn in the English Lake District amidst the buzz of ascending it via the challenging 'Striding Edge'. The music followed as soon as I got back to my guitar. Flanging out the chords on the piano felt a bit 'Lennon' and the arrangement came from there.

Left of Hardin

The Mountain Song

Restart (for Storyboard P and dance magic)

A quick blast of distorted bass driven rock.

Mary

Wages of sin

June ( The Halfway Month )

Voll auf Sendung 2

continental

Credits:

Christine Hunsberger - flute, piccolo
Evan O. Adams (https://soundcloud.com/evan-o-adams) - electric guitar
Jackie Andresen - violin
YuJi - piano
Karl Kim (https://soundcloud.com/karl-kim) - electric bass guitar
Christopher Bush - conductor

Listen on Spotify: https://open.spotify.com/track/0nXP1wPaztiCy8LIlbQNuv?si=e3ab42503e864e51

Brr Brr Deng

Rise

String Quartet No. 1
Duration: 22'
Publisher: BIll Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1026
For More Information: https://robertpaterson.com/string-quartet-no-1

PROGRAM NOTES
My original intent with this work was to write a set of four independent miniatures. After writing the first maximally-sized one, I decided to change course: these four "miniatures" are now my String Quartet No. 1.

Although these four movements are designed to be independent, small amounts of material are used interchangeably between each movement. Most notably, material from the first two movements is used in the third, and material from the third movement is used in the fourth.

The most prominent aural feature of the first movement, Fast and Sprightly, is the recurring "clarion" motive. This motive evolves into various thematic gestures and also reappears in the next two movements. Another prominent feature of the first movement is the use of jazz references. The string quartet is required to "swing," a style of playing usually only utilized by jazz musicians and big bands.

The second movement, Logy, begins by parodying North American, southern-style country waltzes. While composing this movement, I had visions of my mother interrupting "Three good ol’ boys fiddlin’ on a porch in Rabun Gap, GA," quipping at them to stop. The quipping is represented by the first violinist interjecting the "Rob–ert" theme. This strange, surrealistic daydream probably originates from memories of my mother calling my name from the other side of the bedroom door when I was a boy.

A section called "Andrew Lloyd Webber Disease" occurs in the middle of the second movement. This section is a schizophrenic alternation of a sick, dissonant, violin duo with an Andrew Lloyd Webber-sounding viola and cello duo. By the end of the movement, my mother joins the "Good ol’ boys" for a final song, after they have all become sick from eating too many boiled peanuts.

The third movement, Sad, Luscious Adagio, uses material from the first and second movements, but at a much slower tempo. Each player has a featured solo in this movement: the cellist plays a solo in double-stops and the violinist plays one made up of almost entirely artificial harmonics. The second violin and viola solos are intended to highlight the instruments’ singing qualities and the performers’ lyrical abilities. As with Logy, I use material recycled from previous movements.

Although the fourth movement, Energetic Polka, is not a strict polka, it has a polka-like beginning. It also contains a few short "quotes," the most notable one being the appropriation of the melodic line from the theme song from the television show The Love Boat.

Material from other movements is also used in Energetic Polka, particularly by the cello. The cellist never has a chance to play the "Pseudo-fugato" theme in Logy, so the cellist "aggressively" reintroduces it in this movement. Energetic Polka ends with a section entitled "Hyperfast shimmy and shake."

The Indianapolis Quartet: Robert Paterson - String Quartets 1-3

String Quartet No. 1 ("Love Boat") - II. Logy

https://www.bandlab.com/disslinwyxsie
https://www.youtube.com/channel/UC33FKBPb0ZqeOy_i54SLGhQ
https://open.spotify.com/user/223lvbbhfua6typuiqsmpfeoy

Restart (for Storyboard P and dance magic)

disslin wixie

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