Beautiful track, I really like the ostinati and wavy effect in the background. It's pretty mesmerizing.

The Beloved

Este video es el origen de EL DIA.
Le puse    EL  DIA  porque este proyecto fue el primero que pude hacer correctamente después de ver centenas de tutoriales y este fue EL DIA
El audio o la música o el tema, lo hice primero con Maschine 2 y luego exporte los audios a su carpeta de maschine y luego los abrí en Studio One 4, todo hasta que exporte el audio de Studio One a su carpeta de mixdow, no utilice ningún efecto, todo el audio lo exporte tal cual.
Luego en Audition utilice EL EFECTO ESPECIAL CREACION DE ORIGINALES
 y algunos ajustes de volumen y este es el resultado.
Espero sus comentarios
Gracias

EL OTRO DIA

FREE DOWNLOAD: https://pumpyoursound.com/f/pys/gamandellogate/90306

This song is inspired by what I remember of my early 80's as a kid.

FREE DOWNLOAD

[Electronic] - 1984 [FREE DOWNLOAD]

The vibe of ancient and incredible when you walk into a Vimana Temple on beautiful India.

12 - Bonus Track VIMANA TEMPLES 2019 REMIX

Written: 2019
Duration: ca. 12'
Instrumentation: flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano (pianist plays from score)
Commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA)
World Premiere: Exponential Ensemble, Opera America, Marc A. Scorca Hall, New York, NY, October 30, 2019

MOVEMENTS
I. Pascal’s Triangle
II. Noether’s Theorem
III. Einstein’s Daydream
IV. The Hammers of Pythagoras

PROGRAM NOTE
Relative Theory is a four-movement, ca. 12 minute work for flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano. Each movement is inspired by a mathematician or theoretical physicist. I was inspired by a story that the commissioning ensemble, the Exponential Ensemble, told me about how much they enjoy performing programs for children that relate math to music. In a fun, yet hopefully meaningful way, the movements of my piece are designed to draw parallels between these two distinct, but interrelated worlds.

The title Relative Theory is a play on words: it loosely refers to Albert Einstein’s famous Special Theory of Relativity, but also to musical theories and theoretical principals that are used between each of the movements. All of these movements are inspired by mathematicians or theoretical physicists, and their theorems and theories inspire the music itself.

In Pascal’s Triangle, triads and intervallic content are structured so as to use binomial coefficients in musical ways. In Noether’s Theorem, the music mirrors her theorem, which states that every differentiable symmetry of the action of a physical system has a corresponding conservation law. Einstein’s Daydream, perhaps the most fanciful movement, quotes a few themes from Beethoven, J.S. Bach and Mozart, three composers who’s music Einstein loved to play on his violin. The work ends with a movement entitled The Hammers of Pythagoras, inspired by a legendary, apocryphal but nevertheless playful tale of Pythagoras passing by a blacksmith at work one day, and discovering that musical notes could be translated into mathematical equations.

There are some fascinating programmatic relations that dictate how thematic materials are used in various movements. Albert Einstein thought very highly of Emmy Noether, a mathematician who never achieved the fame she deserved because she was female. In fact, some of her theories inspired Einstein. Therefore, some of the themes in the second movement are used in the third. Einstein and Pythagoras both figure prominently in music history, albeit for different reasons, so themes from each of these movements permeate back and forth.

Relative Theory was commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA).

LINKS
https://www.exponentialensemble.com/
https://www.robpaterson.com/
https://robertpaterson.com/relative-theory

EXPONENTIAL ENSEMBLE
Anna Urrey, flute
Kemp Jernigan, oboe
Pascal Archer, clarinet
Geoffrey Burleson, guest pianist

Relative Theory - IV. The Hammers Of Pythagoras

(c) 2000
Guitar, Programming, composition,  mixing, producing and mastering by Robert Grigg

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