#cello #piano #ambient #classical #downtempo #soundtrack

SONG FOR A BEAST Ian Parker

A Dog and His Boy
Don starts talking without looking at anyone in particular.
 Just words filling the shop air 
like dust caught in a shaft of light.
“I don’t even know anymore, Tiger.
 I’ve been writing for two years 
 world-building, diagrams, 
 spreadsheets of imaginary wars.
 And now I can’t even start.
 
Everyone online says read more.
 So I do.
 I Have No Mouth and I Must Scream — brilliant,
 but it’s like being waterboarded with adjectives.
 Then Game of Thrones — 
 dense, functional, slightly medieval spreadsheet.
 Then The Hunger Games — 
 which felt right, rhythm-wise, but it still drags.

Tiger lifts his head from the floor.
 “Maybe you’re just buffering,” he says.
Don keeps going, oblivious.
 “I feel like if I can’t even follow the narration,
 I’ll never create one.
 Maybe I only started writing to survive the bad weeks.”

Tiger stretches, it sounds like velcro.
 “You’re over-complicating it.
 You ever notice how I fetch the ball?
 You throw it, I chase it, 
 sometimes it bounces off the lawnmower, 
 sometimes I forget what I’m doing halfway there.
 I always come back with something.
 Maybe it’s the ball. Maybe it’s a stick.
 Once it was the neighbor’s bra.
 It's not a linear process."

Don blinks.
 “Are we really doing metaphors right now? You’re a dog.”
Tiger takes a second to lick his crotch before continuing.
“Dogs are systems too.
 Input, output, reward feedback.
 You’re the one trying to write 
 the human equivalent of firmware version 1.0.
 Just push the update, sort it later”

Don laughs despite himself.
 “You mean keep writing even if it’s garbage?”
 “I mean, don’t mistake the garbage for the goal.
 Compost it.
 Something’ll grow out of it later.
 And diversify your data set,
 you’ve been reading in too narrow a frequency band.

There’s weird out there you haven’t even dreamed of.
 Azimov’s precision engineering.
 Hunter Thompson’s chemical chaos engine.
 You think you’ve seen strange 
 because you've mixed dragons and trauma?
 I’ve licked stranger things under the couch.”

Don shutters,
That last statement being the only one to sink in. 

Tiger sighs, 
rolling over to a slightly cooler spot on the concrete floor.
“Bipeds confuse noise with failure.
 Static isn’t silence,
 it’s a signal waiting for context.
 Half of philosophy is just 
 convincing your self that your bark
 somehow effects the thunder.”

Outside, the rain shifts gears —
 a softer sound now, more drizzle than percussion.

Tiger sniffs toward the open door.
“You stand there, looking at the sky 
 like maybe the button that opens the garage
 could stop the rain as well.
 Sorry, kid. The system’s not wired that way.
 Sometimes the rain just rains.”

Don kneels down, scratches behind Tiger’s ear.
 “So what now?”
“Now you write.
 Even if it’s messy, even if it leaks.
 Rain does that too.
 And maybe later, when you’ve got it all sorted,
 you’ll remember that dogs don’t talk —"
 





Tiger Speaks 11 6 25

euphoric escapade

𝘖𝘜𝘛𝘙𝘐𝘎𝘎𝘌𝘙

"’Acoustic Sunrise Acoustic Sunset’ is better still, loosely tuned chords endow an almost middle eastern sitar like mantra to the cause begetting a vibe not so far removed from the Sunray the candy coated riffs delicately and deftly worked to provide something that will not only appeal to lovers of early feedback less Flying Saucer Attack but the mercurial sounds found on those rare acoustic fan club freebies issued by Porcupine Tree."

An acoustic piece with ambiance. Imagine a day in time lapse from sunrise to sunset. From the archives ...circa 2006

Demo v1.1

Acoustic Sunrise to Sunset

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

12 - Bonus Track VIMANA TEMPLES 2019 REMIX

A piece of cinematic music representing an exit. 
--
Photo by Jacques Le Gall on Unsplash

Exit

Exit – Ambient & Cinematic Music

Lo-fi mood piece about being snowed in and discovering something.  The track has minimal vocals and leaves the discovery up to the listener's imagination.

Winter Afternoon (Lo-fi Mix)

POST PUNK TYPE X GOTHIC ROCK TYPE X DARKWAVE TYPE X NEW WAVE TYPE BEAT FOR SALE

SISTERS OF MERCY TYPE X BAUHAUS TYPE 

BLACK HEART (POST PUNK X GOTH ROCK X DARKWAVE TYPE BEAT INSTRUMENTAL)

Sonata for Bassoon and Piano
Duration: ca. 15'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1302
For More Information: https://robertpaterson.com/sonata-for-bassoon-and-piano

PROGRAM NOTES (SHORT VERSION FOR PROGRAMS) 
When I first began to plan this sonata for bassoon and piano, I had no idea that I would be inspired by something so overtly programmatic, let alone by an American, historical figure who was alive well before I was born. I knew that the premiere would take place at the Thomas Edison Inn in Port Huron, Michigan, and my curiosity eventually took hold and I started reading up on Thomas Edison’s inventions and his life. I was immediately hooked: many of his experiences and beliefs resonated with me. I could not stop thinking about him or his inventions and they ended up providing a Romantic and technical inspiration for this piece.

The first movement, Edison’s Ears, is inspired by a legendary story about the ear problems Edison suffered from throughout his childhood in Port Huron. According to this tale, when he was 15, a train accident further injured his ears. When he tried to jump on the moving train, the conductor grabbed him by his ears to help pull him up. The young Edison said he felt something snap inside his head, and he soon began to lose much of his hearing. The thought of something “snapping inside his head” made me think how, as morbid as this is, inventing something musical from this story might have humored him. The middle of the movement reaches its peak with a loud, staccato “snapping” chord. The beginning of this movement sounds somewhat mechanical and is the first of three locomotive sections (based on three musical quotes) that progressively increase in tempo. The end of the movement gradually descends in register and dies away, much like a hyper-speed, fast-forward toward his eventual and inevitable hearing loss.

The second movement, Mina’s Tapping, draws its inspiration from a story about Edison’s second wife, Mina Miller. The story goes that they were introduced to each other by his life-long friend Ezra Gilliland: “Their courtship ended when Edison tapped out a proposal for marriage on Mina’s hand. In their many years together the pair communicated via Morse code. When attending meetings or at gatherings with friends, Mina would tap out the discussions in Morse code on her deaf husband’s hand. Despite his long hours away from home, Thomas and Mina were totally devoted to each other and profoundly in love.” In this movement, Edison is represented by long melodic lines; Mina is represented by heartbeat-like, pulsed chords derived from the dots, dashes and spaces of Morse code.

Edison is also responsible for creating a revolutionary business model, the world’s first “invention factory.” The final movement,Invention Factory Eureka, is inspired by this, and the one invention that is said to have been Edison’s only true “Eureka!” invention, the cylinder phonograph. The opening motivic material in this movement is derived from the word “Eureka!” The many bright ‘dings’ throughout the middle of the movement represent the cliché of a light bulb appearing above someone’s head when they have a bright idea. This image ties in nicely to Edison, his inventions and his one “eureka” moment.

Cornucopia

Sonata for Bassoon and Piano - III. Invention Factory Eureka

Breeze - Chill Lofi

Junefe25 (Joo-nae-fae-25: 주네페25), a multi-instrumentalist and multi-genre composer & producer.
 
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