These are my interpretations of the works of Claude Debussy that I adore. All are electronic creations. In some, I use many different sampled pianos and effects to create the sonic space I desire. In others, I intrepret the instruments in the spirit of Isao Tomita to create a unique work expressing my vision of Debussy's vision.  I hope that you enjoy these works.

Howard Interprets Debussy

All credit to -https://www.tiktok.com/@austincfarwell/video/6908083598180551941?lang=en&is_copy_url=0&is_from_webapp=v3&sender_device=pc&sender_web_id=6945035635359270401
This is just my extended track, Enjoy :)

Austin Farwell - The Feeling of Being in Love

10 夜市の料理人 11 CATACOMBAE. 12 Adagio Lamentoso.

WinterJourney 24 The Hurdy - Gurdy Man

Winterjourney 06 Life Cycle

JS Bach: Wachet Auf Ruft Uns Die Stimme, BWV 140 (arr. Francesco Tristano)

A Human’s Touch is not the only TWRP song please guys

Ladybug - TWRP

This is a transcription of Debussy's Arabesque No 1. I used a fender Rhodes sample, a grand piano, a 12 foot grand sample, a concert grand and a patch called distant grand which has several reverbs and delays to simulate a huge space.  I hope you like it.

Debussy - Arabesque No 1 - Piano Only

Debussy arabesque instrumental, 10 tracks, all electronic. In the spirit of Isao Tomita and dedicated to his memory. Isao is who inspired me to become a synthesist and his influence permeates my work.

Debussy - Arabesque In E - With Synthesized Instruments

In tribute to one of my favourite composers.
A fresh remix for an appearance with dignity ;)

Modest Mussorgski: The old castle - Cover by Spektralfarben (Remix 2017)

Clair de Lune which is the third movement of Suite Bergamasque by Claude Debussy. Performed by me using a special mix of sampled grands and fender Rhodes pianos plus a lot of effects. 8 tracks of audio mixed with the mid side technique.

Debussy - Suite Bergamasque - Movement 3 - Clair de lune

I found an old box of cassettes with a couple of gems in it. One actually has my final project from an electronic music composition class I took in 1979. I was poking my nose into dusty corners in the basement of the music building at the University of Arizona, and found a rack of wire wrapped circuit boards with a terminal, a couple of 8" floppy drives, and an 88 key keyboard attached! I started asking around, and learned that it was one of the 5 prototypes of the Micor Coupland digital synthesizer. It had been left by a professor who had retired, and no one knew anything about it. So being me, I asked if I could play around with it. They made me take the 400 level class (as a sophomore) to get access to it, and I happily obliged, and got a couple of friends to help me haul it out of the basement and set it up in the 8-track studio. Now keep in mind that in 1979 no one had even considered a digital synthesizer, and you could count the polyphonic synths in the WORLD on one hand. Here was a FULLY (88-note) polyphonic DIGITAL synth! So I set about putting it all back together, started sticking floppies in until I found one that actually booted up, and I was off and running.
It was based on the TI-9900 microprocessor. Sounds were created by entering an equation that gave voltage as a function of time. It had 2 oscillators, the main oscillator and a modulation oscillator, and an ADSR that controlled the amplitude. The keyboard was the only "performance" control - all other real-time changes to the sound had to be commanded on the terminal. I learned to type with one hand while playing with the other.
Anyway, this is what came out of a fun-filled semester playing with this beast. I am putting it up here strictly for its historical significance; to showcase what this synth could have become if Micor hadn't pulled the funding.
There is a little bit of info on it at http://en.wikipedia.org/wiki/Coupland_Digital_Music_Synthesizer - but the story I heard (from a girl I was dating, who's father was a friend of Rick Coupland) was that Rick was so mad when Micor pulled the funding that he destroyed all of the documentation, and wouldn't even talk about the project to anyone after that. This MAY be the only surviving recording of this magnificent instrument.

Micor Coupland (first digital synthesizer)

When I Looked Up 🙌
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Cavatina by Stanley Myers. The famous John Williams arrangement.
This piece was recorded for Jean from the Booterstown Guitar Circle.

Eimear kindly gave me a loan of her David Adams guitar for this recording. It has a lovely woody, mellow tone that really suits this piece.

Cavatina- Stanley Myers (arr. John Williams)

This is Prelude from Suite Bergamasque by Claude Debussy. I used 6 different sampled pianos mixed together to get the sound that I desired for this piece. They included my 5 meter grand, a distant grand enhanced with echo and reverb for spaciousness and a pedal board Fender Rhodes. I am really happy with the results.

This piece is played at moderato tempo rubato and is the in key of F Major.

Debussy - Suite Bergamasque - Movement 1 - Prelude

The second movement is also inspired by Baroque dance and arabesque styles. The main theme is delicate and is ornamented by many embellishments. The piece is in the key of A minor and is in 3/4 time.

To achieve the soundscape that I wanted for the piece, I again relied on three different piano samples, the 5 meter grand, the distant grand which is heavily processed via echo and reverb, and the processed Wurlitizer.

Debussy - Suite Bergamasque - Movement 2 - Menuet

The final movement of Suite bergamasque is titled Pasepied and is in the key of F# Minor and is played Allegretto ma non troppo. I used 5 differnt piano sample instruments and various settings, effects and equalization to get the ambiance I wanted for this track. A pasepied is a type of dance that originated in Brittany.

Debussy - Suite Bergamasque - Movement 4 - Passepied

I create electronic music in the spirit of Tomita and Wendy Carlos. I also like to rock and am into Pink Floyd. I have been a user of Cakewalk since version 1.0 and currently use Reason, Cakewalk and Audacity along with a studio full of electronic instruments and effects. I play with local musicians and I work at composing electronic renditions of classical music.

Debussy - Arabesque No 1 - Piano Only

Howard F. Arner, Jr.

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