This track came about from a lyric in the song 'Me and Bobby McGee' about "windshield wipers slappin' time". That was the basis of the rhythm which was augmented with percussion tapped out on an acoustic guitar and loosely inspired by Steve Gadd's drumming on '50 ways to leave your lover.' The whole thing wasn't completely unoriginal - the piano and chordal background came from an unsuccessful attempt at another piece which was stretched and repurposed. The clarinet melody is an original length, which means the emphases in the melody fall in different places with each iteration. Finally the melody is processed to sound as if it is mediated by different technologies to reinforce the slight theme of nostalgia. These technologies move through time from AM radio to vinyl to data-compressed digital.

patterns and accidents vol 1

on our way home

Nothing was everything and the day was Night

Marco Lucchi : toy harp and piano

6 novembre 2020

***

This World is not Conclusion.
A sequel stands beyond -
Invisible, as Music -
But positive, as Sound -
It beckons, and it baffles -
Philosophy, dont know -
And through a Riddle, at the last -
Sagacity, must go -
To guess it, puzzles scholars -
To gain it, Men have borne
Contempt of Generations
And Crucifixion, shown -
Faith slips - and laughs, and rallies -
Blushes, if any see -
Plucks at a twig of Evidence -
And asks a Vane, the way -
Much Gesture, from the Pulpit -
Strong Hallelujahs roll -
Narcotics cannot still the Tooth
That nibbles at the soul -

Emily Dickinson

toy harp n°9 (+ piano)

Marco Lucchi : piano

12 novembre 2020

***

Viver é ser outro. Nem sentir é possível se hoje se sente como ontem se sentiu: sentir hoje o mesmo que ontem não é sentir — é lembrar hoje o que se sentiu ontem, ser hoje o cadáver vivo do que ontem foi a vida perdida.

Apagar tudo do quadro de um dia para o outro, ser novo com cada nova madrugada, numa revirgindade perpétua da emoção — isto, e só isto, vale a pena ser ou ter, para ser ou ter o que imperfeitamente somos.

Esta madrugada é a primeira do mundo. Nunca esta cor rosa amarelecendo para branco quente pousou assim na face com que a casaria de oeste encara cheia de olhos vidrados o silêncio que vem na luz crescente. Nunca houve esta hora, nem esta luz, nem este meu ser. Amanhã o que for será outra coisa, e o que eu vir será visto por olhos recompostos, cheios de uma nova visão.

Altos montes da cidade! Grandes arquitecturas que as encostas íngremes seguram e engrandecem, resvalamentos de edifícios diversamente amontoados, que a luz tece de sombras e queimações — sois hoje, sois eu, porque vos vejo sois o que amanhece [?] e amo-vos da amurada como um navio que passa por outro navio e há saudades desconhecidas na passagem.

Fernando Pessoa

piano patterns n°11

Marco Lucchi : toy harp and fx

20 novembre 2020

***

Beauty - be not caused - It Is -
Chase it, and it ceases -
Chase it not, and it abides -
Overtake the Creases

In the Meadow - when the Wind
Runs his fingers thro' it -
Deity will see to it
That You never do it -

Emily Dickinson

toy harp n°19

Marco Lucchi : piano and analog synthesizer

27 novembre 2020

***



A água da chuva desce a ladeira.

        É uma água ansiosa.

Faz lagos e rios pequenos, e cheira

        A terra a ditosa.

Há muito que contar a dor e o pranto

        De o amor os não querer...

Mas eu, que também o não tenho, o que canto

        É uma coisa qualquer.

Fernando Pessoa

piano patterns n°13

Marco Lucchi : piano

2 dicembre 2020

***



It is necessary now that I should tell what manner of man I am. My name, it matters not, nor any other outward detail particular to me. Of my character aught must be said.

The whole constitution of my spirit is one of hesitancy and of doubt. Nothing is or can be positive to me; all things oscillate round me, and I with them, an uncertainty unto myself. All for me is incoherence and change. All is mystery and all is meaning. All things are «unknown» symbolic of the Unknown. Consequently horror, mystery, over-intelligent fear.

By my own natural tendencies, by the surroundings of my earliest life, by the influence of studies undertaken under the impulse of them (these very tendencies), by all this I am of the internal species of character, self-centred, mute, not self-sufficing but self-lost. All my life has been one of passiveness and of dream. All my character consists in the hatred, in the horror of, in the incapacity pervading all that is me, physically and mentally, for decisive acts, for definite thoughts. I had never a resolution born of a self-command, never an external betraying of a conscious will. My writings were none of them finished; new thoughts intruded ever, extraordinary, inexcludable associations of ideas bearing infinity for term. I cannot prevent my thought's hatred of finish; about a single thing ten thousand thoughts, and tenthousand inter-associations of these ten thousand thoughts arise, and I have no will to eliminate or to arrest these, nor to gather them into one central thought, where their unimportant but associated details may be lost. They pass in me;

they are not my thoughts, but thoughts that pass through me. I do not ponder, I dream; I am not inspired, I rave. I can paint, but I have never painted; I can compose music, but I have never composed. Strange conceptions in three arts, lovely strokes of imagining caress my brain; but I let them slumber there till they die, for I have not power to give them their body, to make them things of the world outside.

My character of mind is such that I hate the beginnings and the ends of things, for they are definite points. The idea of a solution being found for problems the highest, the noblest, of science, of philosophy, afflicts me; that aught might be determined of God or of the world horrorizes me. That things of most moment should be accomplished, that men should one day all be happy, that a solution might be found to the ills of society, even in its conception maddens me. Yet I am not evil nor cruel; I am mad and that as it is difficult to conceive.

Though I have been a reader voracious and ardent, yet I remember no book that I have read, so far were my reading states of my own mind, dreams of my own, nay, provocations of dreams. My very memory of events, of external things is vague, more than incoherent. I shudder to think how little I have in mind of what my past life has been. I, the man who holds that today is a dream, am less than a thing of today.

Fernando Pessoa (originally written in English)

piano patterns n°14

Having been started but not finished in 2012, this piece was then picked up and had things added, mixed and released in late 2020.

Enjoy!

New Shores [v.2012]

This is a rework of Marco's track "piano patterns n°9"

https://soundcloud.com/marcolucchi/piano-patterns-n9?in=marcolucchi/sets/piano-patterns-vol-2

Marco Lucchi and David Smith (Piano Patterns n°9)

2021-01-03

night Fantasy

Atonal Hymn

"I'm a mellow artist, ageing 69. I love and release eclectic music, from post-classical to drone. My fave instrument is the Mellotron."

Così, sinteticamente, di solito mi presento.

In genere compongo musica partendo dal suono delle tastiere, ma il mio vero strumento è il registratore.

O i software di registrazione.

"I was made for loving and making recorded music."

Confido da sempre nel potere evocativo e orfico della musica, nella sua capacità di riconsegnarci a mondi più veri e più giusti, più belli di quelli in cui di solito viviamo.

"Ich bin ein kosmische Kurier"

I'm using these tools: Mellotron micro, Waldorf Blofeld synthesizer, Behringer Crave, IK Multimedia Uno synth, Roland Juno synth, Volca keys, Casio digital piano, micropiano Korg, Manetron (iPad app), iTampura (iPad app), Eko 11 (...) string acoustic guitar, electric violin, Orla analogic expander, tenor, treble and descant recorders, soprano and tenor tin whistle, Akai, Roland, Alesis and Arturia controllers, upright piano, Squier 3/4 electric guitar, melodica, Bubble Harp (iPad app), Schoenhut toy harp, soprano ukulele, Eko acoustic guitar, Peavey Composer acoustic guitar, Kurzweill micropiano, Boss and JamMan loop stations , Behringher multi-fx, Olympus portable digital recorder, Phonic, Behringer and Yamaha mixers, Audacity, Paulstretch, various players and plug-ins .. (that's all, folks, I think ..)

latest releases:

https://whitelabrecs.bandcamp.com/album/the-book-of-dreams
https://chitrarecords.bandcamp.com/album/lieder-ohne-worte 
https://ambientologist.bandcamp.com/album/suggestiva
https://ambientologist.bandcamp.com/album/venusia
https://hibernate.bandcamp.com/album/as-riddled-as-the-tide

for further works please go to my bandcamp page
https://marcolucchi.bandcamp.com/

and to 
http://webbedhandrecords.com/
http://www.laverna.net/home/
https://silentflow.org/

iTunes and Spotify as well ..
feed and share ..
https://open.spotify.com/artist/1TRilVaDaQw0ksGqU5tuCh?si=zXD-0xFWS-2yrUs542SH9A

SoundCloud è la piattaforma musicale che preferisco perché è soprattutto il regno degli ‘amateurs’, di quelli che fanno musica per sé e per gli amici .. come quando da ragazzi si condividevano con gli altri le invenzioni e le creazioni .. io sostanzialmente sono rimasto lì e così .. non sempre, ovviamente, ma spesso ci trovo delle cose che valgono altrettanto - se non di più - rispetto a quelle più affermate e conosciute