Steppin' On Leaves

Hey there fellas this is my new single ‘Under The Ocean’...This track is fully made on FL studio 20...and with plugins Serum, Sylenth1 and Nexus 2...Repost this and Like this So U can listen more crazy stuffs like this...
#edm #trance #bigroom #rave #techno

Under The Ocean

Hope

That Mojo

Looney Tunes
Duration: 16'
For More Information: https://robertpaterson.com/looney-tunes
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1428
Perusal Score: https://issuu.com/robertpaterson/docs/looney_tunes_-_fs_bound_perusal

Instrumentation: flute (doubling piccolo), alto saxophone (doubling baritone sax), violin, cello, electric guitar, electric bass guitar (not acoustic contrabass), percussion (drumset, bongos, xylophone, amplified Udu drum and misc. small instruments) and piano (doubling synthesizer). All players doubling misc. small percussion instruments, bird whistles and sound effects.

PROGRAM NOTES (SHORT VERSION FOR PROGRAMS)
(Long version: http://robertpaterson.com/looney-tunes)
In Looney Tunes, each movement uses a specific well-known cartoon character as a musical influence and point of departure. The first movement, Taz, is inspired by the Tasmanian Devil character and plays upon all of Taz’s traits with loud, dissonant outbursts, gyrating transitions, quiet, reflective sections and a few references to his attraction to music. The second movement, Foghorn Leghorn, is inspired by this character’s loud, vocal disposition. The ‘Foghorn’ part of his name makes me think of real foghorns, and a foghorn-like interval begins this low-sounding, baritone sax-heavy movement. The third movement, Tweety Bird, provides contrast with a somewhat high tessitura and includes prominent parts for piccolo, violin, xylophone and alto sax. Although the entire movement only abstractly references the animated Tweety, I try to make all of the high instruments sound bird-like from beginning to end. Two of my favorite cartoon characters of all time are the Road Runner and Wile E. Coyote, so it seemed appropriate to end the work with a fastRoad Runner movement. I have always been fascinated by the seemingly infinite array of ACME inventions the Coyote uses to try and capture the Road Runner, and the last movement reflects this and incorporates a number of exotic, gizmo-like sounds and instruments.

Guerilla New Music

Looney Tunes - II. Foghorn Leghorn

This piece is inspired by series of the Korean folk music such as the Chestnut Song (군밤타령), Nyl-lee-lee-ya(늴리리야), and Arirang (아리랑). These songs have been practiced and sang for a long time, bringing people together, relishing a good harvest, and celebrating a harmonious nature and spirit.

However, Korea is now separated into two, communist North Korea, and republic South Korea, divided and victimized by the political and historical reasons, both nations share the pain of separation and broken families. 

However, it is my strong belief that our proud Korean spirit still remains, and it still on-going determination for both nations to be reunited and rejoice the harmony once we shared.

By composing Korean melody with the orchestral palette, it is my sincere hope for all Korean people, to honor the good spirit, cherish the heritage, and spread the goodwill which can influence people all around the world as well.

Los Angeles Film Conducting Intensive (LAFCI) is a workshop to train art of conducting and provide an education and resources to help media composers succeed on the podium. A team of great faculties was there to teach such as Angeles Velez, Conrad Pope, William Ross, Jorge Mester, Emilie Bernstein, and Carl Rydlund, a Hollywood's best professionals who have a long history of film-music production experiences. Each one of them there to train, discipline, influence, and encourage for all of the LAFCI participants.

As a 2019 LAFCI fellow, I was privileged to compose, conduct, and record my personal work at the Eastwood Recording Stage, Burbank, USA. It will remain as one of my memorable experiences, and I would highly recommend this workshop for those who wish to improve their art of conducting and work ethics as a film, media, and game composer.

Roasted Chestnut Carnival

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

(C) 2011
My attempt to do a "Jazzy" type track. I ain't smart enough to play jazz! LOL

Jazz Smazz

Organic

Impress Music celebrates Piano Day with Emilio Tieri.

Emilio Tieri - Onda Fluttuante

Written for and performed by Annie Ziyao Huang

Premiered for Ring in the New: https://steinhardt.nyu.edu/events/ring-new
Listen on Spotify: https://open.spotify.com/track/7suYyO4wupsshQ40rw5SIB?si=dd122acf00924e2e

Program notes:
"Dismantled, Rebuilt, And Destroyed" is an experiment with consciously bringing in elements of a metal subgenre known as djent, into the solo piano repertoire. Influences on the composer include bands like Meshuggah, Periphery, Animals as Leaders, After the Burial, and Glass Cloud.

Dismantled, Rebuilt, And Destroyed

Karl Kim is a man of many musical hats (perhaps too many for his own good, but that's a discussion for another time). 

​​His musical journey started off with piano lessons at age six, and from there he has picked up many other instruments over the years, including but not limited to: violin, guitar, trombone, and various percussion instruments. Karl was also just as quick to branch out to styles of music other than classical; most significant of these styles is rock and metal (especially of the progressive variety), but jazz, EDM, experimental music, and folk music from various parts of the world have also played a role in shaping him as a musician. 

As a concert music composer, these musical experiences, especially those as a metal guitarist, are what make up the voice that he projects into his compositions, especially in recent times. Pieces like "The Jury is Sleepless", "Without a Minute to Spare", and "So Cold, So Dark, So Chaotic" exist at a crossroads between music for the concert hall and music for the mosh pit. His music has been performed by ensembles such as the Rhythm Method, S.E.M., and Bearthoven, and he holds a B.M. in Music Theory and Composition from New York University. 

"Karl with a K" is an alter ego of Karl Kim. Karl with a K, while having the same musical background as Karl Kim, draws upon a fascination for rhythm game music that started with Dance Dance Revolution at the age of eight, and grew considerably to encompass games including, but not limited to, Sound Voltex, In the Groove, beatmania IIDX, Voez, and Arcaea. Karl with a K brings his background in metal and 20th century classical music into rhythm game original tracks such as "!CAUTION! small but deadly", "BELLUM", and "rudimentary methods of overkill", which can be characterized by plenty of guitars, unusual rhythms, and sometimes non-instruments being used as instruments. Much of his output as Karl with a K is written for the purposes of Stepmania simfile creation (though as of BMS of Fighters: EighTeen's "0verfl0w_err0r" this is no longer exclusively the case).

Karl Kim currently resides in Bloomington, Indiana where he is pursuing an M.M. in Music Scoring for Visual Media at the Jacobs School of Music at Indiana University. Karl with a K can be seen lurking around the internet (especially specific Discord servers), occasionally not being above a good meme from time to time. In addition, Karl with a K is working on his first project as a game developer, a typing meets rhythm gaming fusion titled "glyph;".