Nice. You always have a unique approach to melodies and harmony.

nice instrumental music, talking a lot with music sketches

sounds like as video game track for nintendo good work

marco, you have Mastered the science of sound and mathematics of music my friend. beautiful.

Seq000 I   Tribute To Roberto Benigni - Tributo A Roberto Benigni

A song about the jealousy between the female voices of devices
Calmness and intimate talking of a wonderful lady voice talking about ladies voices

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Prevail

Remedy

This is who you are now
This is who you are
Don’t fight it
Don’t fight it

Take a mental picture of your odyssey
Take a reading journey down your skin
Don’t try to stop the robbery
We’ll just call it in

We’re no longer in fashion you and I
We’re no longer rushing to prove
We own the night
Now we just wanna make it through

I can’t remember why we thought we’d win
Was it something about our generation?
Now it’s 20 past from start again
And our bodies keep telling us to slow down

Will the winds be kind again?
Will we ever run?
Or has it not sunk in
We’re just the next crop only suitable for mowdown

This is who you are now
This is who you are
Don’t fight it
Don’t fight it

Take a mental journey down your armory
Take a fleeting picture with your face
Don’t try to send the cavalry
We’ll let Time erase

I now remember how we thought we’d win
We set out to make room for a generation
So we don’t have to start again
And now we only need to get ready for the showdown

Will the zeppelins fly again?
Will the Jazz roll on?
When the young set out to own the night
We know the ending but let’s keep it on the lowdown

We're no longer in fashion you and I
We're no longer rushing to lose
We gave up flight
and it didn't even make The News...

This is who we are now
This is who we are
Don’t fight it
Don’t fight it

Support Gom

This Is Who You Are

Original composition….. Alejandro González M.

Ánimas

Getting On

Heading into the studio there was one of those street preachers holding a sign "The end of the world is nigh" and as the band loaded in he was shouting across the street that they were playing the devil's music and that they were on the path of the wicked and from there the tune "The Path Of The Wicked" came about, with Sonny sketching it out on piano and the rest of the band dropping in.

The Dark Messiahs are:
Sticks Thompson - Drums
Blue Six - Trumpet
Wilt Flowers - Bass
Sonny Rhodes - Piano

The Path Of The Wicked by The Dark Messiahs. Dark jazz. Ambient noir.

Autumn Songs (for Mezzo-Soprano and Chamber Ensemble)
Duration: ca. 18'

MOVEMENTS
I. Ascension: Autumn Dusk in Central Park (Evelyn Scott)
II. Under the Harvest Moon (Carl Sandburg)
III. All Hallows’ Eve (Dorothea Tanning)
IV. November for Beginners (Rita Dove)
V. Leaves Before The Wind (May Sarton)

Performers: American Modern Ensemble, Blythe Gaissert, Mezzo-Soprano
For more information: https://robertpaterson.com/autumn-songs
Publisher: Bill Holab Music: http://billholabmusic.com/store/index...
Purchase Sheet Music: http://billholabmusic.com/store/index.php?keyword=autumn&main_page=advanced_search_result&search_in_description=1
View Perusal Score: https://issuu.com/robertpaterson/docs...
Also available as a version for mezzo-soprano and piano: https://robertpaterson.com/autumn-songs-version-for-mezzo-soprano-and-piano

PROGRAM NOTE
Autumn Songs for mezzo-soprano is my final song cycle celebrating the seasons. As with my previous three seasonal cycles for different voice types, this cycle contains settings of poems by various American poets.

Like Spring Songs, Autumn Songs begins with New York: a setting of Evelyn Scott’s Ascension: Autumn Dusk in Central Park, an early 20th century Imagist poem in which people seem to merge at dusk. The second movement is a setting of Under the Harvest Moon by Carl Sandburg. In this poem, Sandburg uses autumn and summer as a metaphor for people in two different periods of life, revealing beauty in both stages. Memory is the primary concern for someone who is older, and possibly for someone who is younger. The third movement is a setting of All Hallows’ Eve by Dorothea Tanning, who was not only a poet, but also a well-known visual artist whose early work was inspired by Surrealism. This is perhaps the most playful setting, and I used Tanning’s evocative, Surrealistic imagery as inspiration for colorful sounds and angular dissonances in the ensemble. November for Beginners by Rita Dove is the text for the fourth movement. In this setting, Dove beautifully encapsulates the feeling of waiting for winter in November, and the sense of anticipation one feels during the fall months. At the end of her poem, she uses the sound of zithers as a metaphor for the sounds of wind and rain when spring comes. The final movement, a setting of Leaves Before The Wind by May Sarton, is inspired by Irish jigs, and mimics leaves blowing in the wind. The penultimate section is anthemic, and the end of the movement is more calm and similar to the beginning.

Autumn Songs was made possible, in part, by generous support from the Gerson Family Foundation.

ARTISTS
American Modern Ensemble: http://www.americanmodernensemble.org
Blythe Gaissert, mezzo-soprano: http://www.blythegaissert.com/
Sato Moughalian, flute
Pascal Archer, clarinet
Matt Ward, percussion
Esther Noh, violin
Dave Eggar, cello
Geoffrey Burleson, piano
Robert Paterson, conductor

Seq000 I Tribute To Roberto Benigni - Tributo A Roberto Benigni

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