Original Contemporary Acapella Ensemble Compositions
www,Alphasongs.net
See Scores and Video at https://www.alphasongs.net/amp-116
Copyright ©2023 Matthew L. Kearns, all rights reserved. 
Music and Lyrics by Matthew L. Kearns,(ASCAP) Alphasongs LLC (ASCAP)

Itsy Bitsy

Original Contemporary Acapella Ensemble Compositions
www,Alphasongs.net 
See Scores and Video at https://www.alphasongs.net/amp-109
Copyright ©2023 Matthew L. Kearns, all rights reserved. 
Music and Lyrics by Matthew L. Kearns,(ASCAP) Alphasongs LLC (ASCAP)

At The Central Square

“Skip On the Crazy Side” 
www,Alphasongs.net
See Scores and Video at https://www.alphasongs.net/amp-111
Copyright ©2023 Matthew L. Kearns, all rights reserved. 
Music and Lyrics by Matthew L. Kearns,(ASCAP) Alphasongs LLC (ASCAP)

Notes: 
The lyrics of Skip on the Crazy Side present a strong personal affirmation for me to compose music going forward. In some ways this song comes in response to the frustrations expressed in the lyrics of another song I wrote earlier in 2020 called Screw your Petty Bias. In many ways, the two songs together echo the traumas of my own personal life in 2019. I needed to recognize and separate from negative bias and channel the trauma of significant separations into a positive avenue. My skills to compose music is the primary avenue. Skip on the Crazy Side came together in spring 2020. It was written in the same time frame as Screw your Petty Bias. 
I am a late bloomer when it comes to writing music. But when I discovered the potential to develop this new skill, it was also becoming apparent how this new direction was essential in my life. A new avenue to grow and heal the wounds of past trauma. Sometimes I think it is just crazy that I’m doing this, that I’m able to do this. But here it is. Now, I skip on the crazy side. 
The song is structured in 6 similar verses interceded with 5 sections, mostly in between these verses, with unique variations, providing variety and dynamics to keep the song interesting. These “bridges” move the song in different dynamic directions culminating with the fourth bridge section, a climactic passage repeated around a small 4 bar middle passage that is a seed for the final interceding section which is a unique 9-bar interlude that modulates the song back to the original key and the final two verses, with the finale, echoing the opening phrase.  
There is a very deliberate modal inflection in the primary musical subject of the song, sung to, “Skip on the Crazy Side”. The lyric, “Skip on the Crazy Side” continues in almost every measure of the song providing a consistent echo of this affirmation. The modality I refer to, is the frequent use the sharpened fourth degree of the Lydian modal scale, a Lydian inflection. This is core to the music subject of the song. I guess it is somewhat crazy to write modern harmonies to this ancient scale. Hence, I skip and try to incorporate this Lydian inflection on the main subject where it can work harmonically. The rhythm of the subject, “Skip on the Crazy Side” is consistent in each measure even if the notes can change sometimes to fill harmonies better. 

“Skip on the Crazy Side” is repeatedly sung in almost every measure of the song. Hearing this repeated statement is simply affirming to me that I intend to follow this path to be composing music for the rest of my life. OK, I must admit repeating the phrase, “Skip on the Crazy Side”, underneath the primary lyrics of the song may deliver a serious ear-worm effect, a different technique than an ear wormy chorus, but isn’t that the nature of a good song? Perhaps this simply creates a subliminal effect.
  
Performance Notes 
This piece is scored for small to medium vocal ensemble. There are parts written for hand claps and claves or finger snaps. These parts are intended to be a starting point for adding rhythmic emphasis. The percussive parts are intended to emphasize rhythms and enhance timing. These are optional and could be left out. On the other hand, I would encourage adding these parts. For more creativity, improvisational beat-boxing can enhance rhythms even more. Have fun with it.

Skip On The Crazy Side

Conceived, mixed and selected by @emotionalmusicofficial

INSTAGRAM: www.instagram.com/emotionalmusicofficial
SPOTIFY: bit.ly/emotional-playlist

TRACKLIST:

1) Tone Of Arc, Dove City - Coal In My Chest (Frankey & Sandrino Remix + Original Mix)
2) Tamir Regev, Avi Snow, Ben Cina - Common Ground
3) Samantha Loveridge, Treetalk - Losing My Religion
4) Coco, Joezi, Pape Diouf - 7 Seconds 
5) Helsloot - Take Care (Maz Remix)
6) Nico de Andrea, Vanetty - Ethnica
7) IDQ - Quicksilver
8) Glowal - Open The Gate
9) Tamada - Shara (Trikk Selva Kartuli Dub)
10) Lazarusman, Hyenah - The Hi (Ivory Jungla Mix)
11) &ME, Rampa, Adam Port, Keinemusik, Cubicolor - Before The Flood (Ankhoï Remix)

Photographer: Dmitry Bolotin (https://www.instagram.com/bolotiny/)
Model: (https://www.instagram.com/kudryavaya_ta/)

FREE DOWNLOAD

EMOTIONAL #111

This is dedicated to my beloved lost brother, Jordan. To all those who have lost someone, keep your head up, and keep winning. Keep living, loving, laughing, and don't ever forget, our time here is limited and precious, keep spinning'

Spinning

Catch A Flicker, Catch a Flame 
Copyright ©2020, 2022 Matthew L Kearns, Alphasongs LLC (ASCCAP) all rights reserved. 
Music and Lyrics by Matthew L. Kearns(ASCAP)
Scores and Video at https://www.alphasongs.net/amp-104

Notes
Catch a Flicker, Catch a Flame is one of my early songs, but one that received significant revisions in 2020. The original draft came to me in one 8-hour session back in August 2019. The song seeks to capture the warm excitement of making a new connection, a new friendship in the platonic sense. The punchy staccato introduction turns our attention to the flames of friendship catching on as we come together. With a new friendship, we discover new interactions, new observations, new ways to enjoy each other's company and to have fun, like a new game. 
Lyrically, the song develops in three sections, beginning with an introductory metaphor of a fledgling spark which can, in essence, catch a flicker, catch a flame. Next, in the chorus, we reflect upon observing the sparks coming together. Finally, questions raised in the chorus are answered in the two verses. The new game is the coming together of a new friendship. “I like you! I think you like me too!” 
We start with a 16-bar introduction of the ostinato motif and then move into the first rendition of the chorus. Musically, this song contrasts verses with a simple crisp, staccato melody in the soprano on top of a punchy chordal ostinato in the lower three parts, transitioning to smoother more legato chord progression in the chorus. Each of the two verses is preceded by a four-bar statement, re-introducing the ostinato foundation of the verses. The rhythm of the piece is emphasized persistently in the form of hand claps in 2 parts. 
Performance Notes 
This piece is scored for small to medium mixed vocal ensemble. It's a happy song to be performed with smiles. There are parts written for hand claps. These parts are intended to be a starting point for adding rhythmic emphasis. The percussive parts are intended to emphasize rhythms and enhance timing. These are optional and could be left out. On the other hand, I would encourage adding these parts. For more creativity, improvisational beat-boxing can enhance rhythms even more. Have fun with it.

Catch a Flicker, Catch a Flame

Catch A Flicker, Catch A Flame Acapella Vocals

Itsy Bitsy 
Copyright ©2021, ©2022 Matthew L. Kearns, all rights reserved, Alphasongs LLC (ASCAP), www.Alphasongs.net
Music and Lyrics by Matthew L. Kearns (ASCAP)
Scores and Video at https://www.alphasongs.net/amp-116

Notes:
OK, I must confess some fascination with spiders. As a boy, I used to collect them in jars and watch them in captivity for a while, then I’d let them go. The Itsy Bitsy song (1st verse) was a favorite when my children were growing up. My wife and I would sing Itsy Bitsy spider to them often. Of course, they also grew up loving Harry Potter and its occasional tales of creepy spiders. So, at the crossroads of these tales, I developed the tale of Miss Itsy Bitsy and how she became Aragaga, Queen of the giant forest spiders, a new arrangement to help celebrate Halloween. 
Musically, this is a fun 7 verse journey through variations on the original Itsy Bitsy spider song theme. Alto carries the melody, and the soprano either doubles, or has a descant harmony to the theme, while Tenor and Bass supply the rhythm elements in a more instrumental role. A fun 4 part arrangement with rhythm and variation.

Performance Notes
This piece is scored for small to medium vocal ensemble. There is a part written for hand claps. The clapping parts are intended to be a starting point for adding rhythmic emphasis. The percussive parts are intended to emphasize rhythms and enhance timing. These are optional and could be left out. On the other hand, I would encourage adding the written clapping parts. For more creativity, improvisational beat-boxing can enhance rhythms even more. Have fun with it.

Itsy Bitsy for String Quartet

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Suite: Judy Blue Eyes (2005 Remaster)

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Itsy Bitsy for String Quartet

Matthew L. Kearns - www.Alphasongs.net

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