Name: Mélange des deux by Paul Maurice Roche, Composer
Duration: 4 min 17 s
Description: Supposedly piano variations on an Operatic theme by Mozart (Don Giovanni), a fragment of a Beethoven cadence (from his 6th Symphony I think) appears to have fallen in. Hence the piece is named Mélange des deux. A rare example of double plagiarism.

I was again inspired to write this piece after reading the book "The Four Winds" by Kristin Hannah.....it tells about the Dust Bowl and the Great Depression in America/Texas during the 1930...
My sincere thanks go out to Mirjam Keijnemans for adding her own voice and orchestration to my piece which has given it another dimension, and also to Leon Pajer (Orlando51) for the brilliant mix and production of this piece...
I hope you will enjoy listening....

Piano composition by: @lizdicker
Cello, violin and vocals by: @mirjam-keijnemans
Mix and Production by: @Orlando51 

Art picture by Ming-Sun on Pexels

Elselina /Ft. Mirjam Keijnemans

Panorama

Morning Walk

Composition and performance Alicja Maciejko 20.11.2022
Art: Remy Donnadieu 

Merci Remy!

Alicja Maciejko

Escape. Sonatina for piano

Well, the song‘s title is relatively straight-forward. Due to the harmonies that sound (at least for me) quite oriental and the unsquare metra at some parts, this song reminds me of one of my all-time most favourite books. I leave it up to you, dear Listener, to imagine, how this specific tale evolves .

Composition-wise: The piece is in a scale (a-a#-c#-d-e-f-g-a) that is not an ecclestical mode but rather influenced by oriental scales. I read a bit about Persian music and though this scale also does not seem to occur in the Persian Dastgah system with its microtonal intervals, it still it reminds me of 1001 nights – can‘t help the cliche, hope, this is not understood as cultural appropriation ;-). 
The first minute until 1:07 the piece oscillates between just two harmonies (based on a and a#). Thereafter, the track shifts to the more lyric Dorian mode (d-f-g-a-b-c). The arpeggios starting @ 1:37 are meant to resemble a Persian tar. Thereafter, @ 2:11 the track reverts to the finish with the original tune but 1 tone lower (ie, the scale starts with g instead of a) and some minor rhythmic variations vs the beginning. 
The base rhythm is a 4/4, though this is interrupted frequently by syncopes to allow for a more free floating rhythmic texture. Moreover, the underlying 4/4 is at times interrupted by beats of length 6/4 (e.g. @ 0.14, 1:11, 2:25, 2:44,… ). 

The track has been recorded on a Roland FP-90 and mastered in Cubase by adding compressor, reverb, a Stereo enhancer and fiddling a bit with the EQ.
The picture was created with Stable Diffusion. I find it fascinating that most of the figures upon closer inspection make little anatomic sense but still our brain accepts them upon a short glance as a perfectly valid picture.

Scheherazades Tale (Solo Piano)

Supposedly piano variations on an Operatic theme by Mozart (Don Giovanni), a fragment of a Beethoven cadence (from his 6th Symphony I think) appears to have fallen in. Hence the piece is named Mélange des deux. A rare example of double plagiarism.

Mélange des deux

lab os #1

This is a lighthearted and Romantically-inclined piece that is inspired by my little daughter who is into all “pretty things” in this world like flowers, raindrops and butterflies. Watching her humming and coloring papers freely without a care in the world, I feel like I can relive such moments of my life again.

Coloring Butterflies

Experimenting again here with different divisions of strings. Why is getting the balance right so difficult? Part of the answer is that conductors (not composers) are the experts. They ensure, for example, that large numbers of divisions of second violins, avoid blasting smaller numbers of viola divisions into acoustic oblivion.

Small, medium or large orchestras plainly have very different numbers of divisions of the different string instruments. It is very complicated to get the balance right, to say the least. Conductors know how to handle all sorts of different orchestras (small, medium and large)...and therefore all sorts of different divisions, of all sorts of instruments.

The best way for composers to learn (from conductors) is to attend rehearsals of pieces made by famous composers. Making notes of everything the conductor says to the orchestra during rehearsals.

Gustav Mahler was a conductor who happened to compose in his spare time. Being a good conductor, in my opinion, is orders of magnitude more difficult than being a good composer. Controversially, I suggest good conductors should not be required (by the performance notes of a score), to adhere strictly to performance notes. Good conductors should be positively encouraged to interpret scores ad libitum.

Efforts were made in the above study to think about string divisions, in relation to other string divisions and piano. A technical study.

Studies for orchestra and piano No.1

a frolic in the autumn twilight

AURORE

Piano mostly. Original compositions.
Paul Maurice Roche,
Leamington Spa, United Kingdom.

My favourite pianist is Murray Perahia.

Mélange des deux

Paul Maurice Roche, Composer

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