Massive song this one man really well made nice one !!

Right from the start you know it's going to rock and it doesn't disappoint.  I personally would like for the guitars to be a little dirtier but it totally works the way it is.

Straight up rocker. Solid as always. Great guitar playing.

Hell yeah guys, keep raising cane 😂😂😂😂😂🤘🤘

dude! they just keep coming and groovin! nice job! please vote for me

a little less good sound than your newer works, but just as good !! love it #southernrock kinda pantera kentucky style too...

I'll Kick Your Ass

Rowdy the Smooth

Slow Haze

My friends repeatedly asked me to integrate some vocals into my music. I have to admit it's not my forte. But I decided to give it a try. This is one of my first musics where you can hear a human voice. 🙂

Blue Moon Melody

For Darkness Shows The Stars

​Duo for Flute and Marimba - Music by Robert Paterson
Duration 15'
Performers: Sato Moughalian, flute; Robert Paterson, marimba

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1209

For more information: https://robertpaterson.com/duo-for-flute-and-marimba-six-mallet-version

NOTE: this work is also available as a version for four-mallet marimba:
https://robertpaterson.com/duo-for-flute-and-marimba-four-mallet-version

PROGRAM NOTES
There were two particular goals I had while writing Duo for Flute and Marimba. I wanted to write a piece that was substantially longer than a usual five-minute, one-movement chamber piece, and I also wanted to write a work with a marimba part that uses six mallets for someone other than me. Ingrid, being one of my most courageous friends, offered to learn this difficult technique if I would write a piece for Kesatuan.

This duo is constructed in three contrasting movements. Although the two outer movements have more in common with each other than with the jazzy second movement, shared motives, melodic fragments, textures and rhythmic ideas permeate all three. The flutist has an opportunity to use an alto flute in the last movement, and the marimbist uses six mallets in the first movement and five mallets in the third. My general goal with this duo is to squeeze as much color, contrapuntal interplay and excitement out of this combination of instruments as possible.

The first movement, Allegro Misterioso, is meant to have a somewhat soothing quality, defined by lightly ornamented flute lines and ostinati in the marimba part. The structure of this movement is essentially a simple A, B, A’ form.

The jazz-influenced second movement, Playfully Seductive, is written for a friend I met during the summer of 1998 named Elyse, with whom my wife Victoria and I became good friends. Elyse not only has a beautiful singing voice but also happens to be a flutist. During one discussion, she told me that her father played the role of Tony in the first Broadway production of Leonard Bernstein's West Side Story. A few times, we had fun playing and singing through her West Side Story songbook. During this movement, I refer to West Side Story and also to Elyse, her bass-playing ex-boyfriend (now her husband), Victoria and even myself through thematic leitmotifs. The form of this movement is similar to the first, in that the introductory material is re-introduced near the end of the movement.

The third movement, Vivace, is similar to the first movement in that it also contains ornamented flute lines and marimba ostinati. Themes are borrowed and developed from the first two movements, and both the first and third movements contain flute cadenzas. The end of this movement provides an exciting conclusion to the entire three-movement work.

Six Mallet Marimba

Duo for Flute and Marimba - III. Vivace

Eating Variations
for Baritone Voice and Chamber Quintet (Baritone Voice,  Flute, B-flat Clarinet, Violin, Cello, Percussion)
Duration: 9' 
Text by Ron Singer
Performers: American Modern Ensemble; Robert Gardner, Baritone
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1109
Online Perusal Score: https://issuu.com/robertpaterson/docs/eating_variations-fs-bound_perusal
For More Information: https://robertpaterson.com/eating-variations

PROGRAM NOTES
Eating Variations is based on a series of witty poems with the same title by Ron Singer. The work as a whole is essentially a satire on food faddism and depicts different aspects of eating. The way I chose to set these poems is light-hearted, perhaps lighter in spirit than Singer originally intended, but with a serious, dark side.

The first movement, My Body, a Temple, incorporates the sounds of Tibetan Singing Bowls (also called Temple Bowls or Cup Gongs) and is loosely, harmonically inspired by Khöömei, or Tuvan Throat Singing and David Hykes’s Harmonic Choir recordings; both of whom use a style in which the singer produces overtones on top of the fundamental notes. Perhaps mercifully, I do not require the baritone to use this technique, but instead, use the flute to produce false overtones in a couple of spots.

In the second movement, The Hog, the instruments mimic pig sounds with scratchy, grunting noises from the violin and cello and clarinet multiphonics. A round-sounding whole-tone scale is used and there is a Polka-like accompaniment in the percussion.

The third movement, Even the Dyspeptic Must Eat, uses upward and downward runs in the bass clarinet to impart a roller coaster-like sense of Gastroesophageal Reflux Disease, a condition in which there is recurrent return of stomach contents back up the esophagus. This is reinforced with a slow, background groove in the drums.

The cello part in the fourth movement, The Dietary Moralist, is inspired by Dave Eggar, a cellist who can play his instrument like a guitar and sing at the same time. In this movement, I ask the cellist to play in a somewhat folksy style and sing out of tune back-up vocals—to me, reminiscent of a 1960s musical Hippie Sit-in. The main vocalist is backed by the well meaning but out of tune "band." To paraphrase an interesting email exchange with Singer, we agreed that in this context, the vocalist might represent a contemporary version of a certain species of 60's hippie—say, a particularly zealous fair trade coffee purveyor, and that this Malvolio type is singing along with a group of kindred spirits. This movement is not a literal portrayal of the text, which is quite serious in tone, and stretches the meaning more than the other movements. Perhaps my interpretation may instead be viewed more as commentary on the text.

In each passing decade, people are sure of their eating habits, and the carefree, assured, commercial America of the 1950s was no different. In the last movement, The Happy Medium, I envision a father-like doctor figure squarely explaining to a patient how to eat. The perky background music is meant to evoke a 1950s TV commercial, or perhaps a short, black and white educational grade school film.

Winter Songs

Eating Variations - V. The Happy Medium

Sun Trio for Violin, Cello and Piano
Duration: ca. 35'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=908
For More Info: http://robertpaterson.com/sun-trio

PROGRAM NOTE
Sun Trio originated when I first started the film score for a documentary entitled Journey Into Courage. After writing opening music to the film, director Bess O’Brien and I concluded that it was best to change some parts in order to properly compliment the film. The theme was kept, but some of the other sections were changed and/or edited. I never discarded the original sketches, even though much of it remained on the cutting room floor. Thankfully, it came to good use later in this work.

The first movement, Sun Day, begins with the theme from the Journey Into Courage introduction. This movement is meant to evoke the feelings you get when summer, mid-day sunbeams appear from between the clouds and warm your skin.

Sunset, the second movement, was inspired by Lake Champlain in Burlington, Vermont and my wife Victoria. I envisioned us embraced, doing a Tango–like dance under a multi–colored sunset—at times, to themes from Stravinsky’s L’Histoire du soldat. Victoria is a much better dancer than I, and in this movement, she teaches me the steps. I fumble around and finally get it right, and then the sun sets.

The third movement, Absence of Sun, is connected from beginning to end by one long melodic line. The cello melody is modeled after a classical Indian Sitar raga, specifically the traditional, slow introductory section of a classical Indian composition. The bass piano part supplies the drone while a high-pitched tone row supplies a "starry night" texture. This texture gradually melds into a wind chime accompaniment. The movement peaks in the middle with an intense cello line. At this point, the violin intervallically supports the cello line. Each instrument—and in the case of the piano, each stave—represents a specific, individual texture. This movement intended to sound somewhat improvised.

Sunrise, is meant to evoke the feeling you get when watching the sun rise. There is a "Sun" peak of an octave, a bright yellow ‘E’, symbolizing the first, intense, bright sunbeam peaking over the horizon. In the middle of the movement, a string of rising chords mimics a "fast-forward" of the sun rising in the sky. Later in the movement, the violin and cello play decelerated bird motives. I wrote the bird songs down on the morning of April 17, 1995, while watching the sun rise behind the University of Vermont music building. I use the "mystic chord" by Alexander Skryabin as melodic and chordal material for the anticipation of the rising of the sun. While I was waiting for the sun to rise, I watched the mountains intensely. I finally was about to give up, thinking that the sun tricked me and rose behind some clouds when I wasn’t looking. As soon as I turned around to walk away, I felt an intense heat hit the back of my neck. I turned around and there it was! The sun was there, in all of its glory and splendor, lighting up the mountains. As well as evoking a sunrise, this movement also uses themes from the previous three movements.

The sprightly Sun Dance is a closure movement written to provide a vibrant contrast to the other four. The initial piano motive is taken from Five Movements for string quartet by Anton Webern. The first section introduces the themes, motives and patterns which are then used in subsequent sections. The second and fourth sections are percussive, while the third section is more placid and melodic. The finale is hard and driving, utilizing both snap pizzicati (plucking the string so it bounces against the fingerboard) and loud four-note chords in the strings.

Sun Trio was commissioned by Dennis O’Brien to commemorate the 98th birthday.

Spheres

Sun Trio - V. Sun Dance

Sun Trio - Mvt. V. Sun Dance

The whole live
Your destination is not to die
The whole live
Your destination is simple to live

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

The whole live
Your destination is not to walk alone
The whole live
Your destination is to keep your friends 

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

You will never walk alone never

The whole live
Your destination is not to give up
The whole live
Your destination is to fight 

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

The whole live
Your destination is not to do things you hate
The whole live
Your destination is to do things you love

But never walk alone
This isn’t the way
But never walk alone
You’ll find it

You will never walk alone never

Destination

Blue Collar

Raising Cane

Love

Welcome to the Lab 💀 
Creator sound designer
40 plus years in live sound reinforcement
getting by with some help from my friends.
some call me Brother, Mark, Big Moochies, Big Daddy, Fat Rat..... all love.

Raising Cane

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