Fantasievoller Einsatz von Klangfarben und eine geschmackvolle Orchestrierung

Orchestrations

A transcription for clarinet, piano and orchestra

Liszt Hungarian Rapsody

Si l'on pouvait ne pas vieillir dans cette course contre le temps et retourner à la ligne de départ ... Bref faire un faux départ .😊
Compositeur arrangeur : Philippe SEGUINARD
Auteur : Guillaume DULER
Lyrics :
J'ai beau marcher à contre sens
De la rotation de la Terre
Y'a rien à faire mon âge avance
Ça marche pas , bien au contraire
Je brûle tous les calendriers
Je fête pas mes anniversaires
J'ai beau condamner les années
Ça marche pas , bien au contraire

Qu'elle est loin la ligne de départ
Si on pouvait faire demi tour
Se cacher derrière quelque part
Se faire oublier pour toujours
Je voudrais être le dernier
Celui qu'est toujours en retard
Je suis pas pressé d'arriver
J'aimerai faire un faux départ

Je n'aime pas trop les lendemains
C'est aujourd'hui que je préfère
Je compte pas mes heures enfin
Ça marche pas , bien au contraire
Je mets des crèmes à reculer
Un peu de printemps sur l'hiver
Des mensonges sur la vérité
Ça marche pas , bien au contraire

Qu'elle est loin la ligne de départ
Si on pouvait faire demi tour
Se cacher derrière quelque part
Se faire oublier pour toujours
Je voudrais être le dernier
Celui qu'est toujours en retard
Je suis pas pressé d'arriver
J'aimerai faire un faux départ

J'ai peur quand on dit « à demain ! »
Je voudrais qu'on dise «  à hier ! »
Alors j'prie pour un jour sans fin
Ça marche pas , bien au contraire
J'aimerais bien tuer le temps
Il est immortel rien à faire
Prendre le temps de temps en temps
Ça marche pas , bien au contraire

Qu'elle est loin la ligne de départ
Si on pouvait faire demi tour
Se cacher derrière quelque part
Se faire oublier pour toujours
Je voudrais être le dernier
Celui qu'est toujours en retard
Je suis pas pressé d'arriver
J'aimerai faire un faux départ

I may walk against the direction
From the rotation of the Earth
There's nothing my age can do
It doesn't work, on the contrary
I burn all the calendars
I don't celebrate my birthdays
No matter how I condemn the years
It doesn't work, on the contrary

It's a long way to the starting line
If we could turn around
Hide behind somewhere
To be forgotten forever
I'd like to be the last one
The one who's always late
I'm in no hurry to arrive
I'd like to make a false start

I don't really like tomorrows
It's today that I prefer
I'm not counting my hours at last
It's not working, quite the opposite
I'm putting on creams
A little spring over winter
Lies on the truth
It doesn't work, on the contrary

It's a long way to the starting line
If we could turn back
Hide in the back somewhere
And be forgotten forever
I'd like to be the last one
The one who's always late
I'm in no hurry to arrive
I'd like to make a false start

I'm afraid to say "see you tomorrow".
I'd like someone to say "see you yesterday".
So I pray for a day without end
It doesn't work, quite the opposite
I'd like to kill time
It's immortal, nothing to do
Take the time once in a while
It doesn't work, on the contrary

How far away the starting line is
If we could turn around
Hide in the back somewhere
And be forgotten forever
I'd like to be the last one
The one who's always late
I'm in no hurry to arrive
I'd like to make a false start

© Guillaume DULER / Philippe SEGUINARD 2022

Faux départ (feat Sylvie Tiret) TRANSLATED

Peaks Twinned (2025)

What to do if you have only a few short sketches, and nothing more in stock? All that's left to do is to thread a needle and sew something like a patchwork rug :)
P.S. Apologize for the clipping - I didn't get the recording level right :)

«Thread and Needle». Etude in patchwork style. Op.166. (2025)

Composed, arranged, performed, and produced by:
Carlos Vivanco

Èr, Wǔ, Yī

Temperance Fountain

PLEASE NOTE: this is an .mp3 file only since higher quality .wav files are currently not uploading on soundcloud

method: to distract me from the everyday task of fighting demons of the mind,  I set out with a gregorian version, only to understand that my voice was not up to standards and expectations. You can still hear that choral in the background. Well, gregorian monks might might have actually sounded like that – not everyone is a pitch creature after all. After postponing some iterations to enjoy creating UP UP AND OUT with Jeff (and assissting in setting the next project on good tracks), I  then added layers to better match what my mind heard to what the headphones belted out. Somehow, I did not let go of the initial composition, though – feeling attached to its disjointed, squealing humanity. Call me sentimental and you’re right. I also just felt like taking this ride on the RC-505, rediscovering my former companion from hitherto unexplored angles ;-) 

Narration: the poem is about an evolution – or a journey to the sea – whatever you prefer to call it. having become aware of the circumstance that I am more of a liability than an asset in certain processes, I found myself in the clutches of a transformation that needed processing itself – and a good deal of sublimation, I guess. 

Image: copyright jo richter

poem / copyright jo richter:

all the hardly humid barrens
harbour time in arid sands

while the early einkorn seedlings
of the floodlands sway and bend

and the tides bring tidal tidings
weighing vapour, thermal scales

ah, the oceans, giant oceans
breathing water, water whales

isosem

method: vst, mainly, and balabolka TTS - until Jeff plucked his guitar into that magic pedal .... I had to dumb the upload down from wav to mp3 to make soundcloud accept it.

narration: you might be familiar with the lyrics - yes, this is the very poem you have heard on Hakan's Shuffle in a different setting ;-)

image: copyright jo richter (using elements photographed on a theatre in Budapest in 2009)

Poem / copyright Jeff Gardiner and jo richter:

in the nick of time
he gave in to dissent
for the mute perceptive mime
manically made him raise his head and unmaimed hand in mine

praise the unerring rebellion
in subconsentious unison
the empty shells of every single silly little thing
ahh, the knell, the bells, fashioned from our fathers’ coral vaults

selling out, shelling round, all around in disarray
vainly making everybody wane and wade into the fray
with withered, bamboo-watered canes - - - fracking shist
where our homes are still purported to exist

while scattered scraps of all things past, scantily, scantily clad,
protrude and flutter in the wind, strained and restrained by the net
of pleasant pleas - and subltleties are colors bright and crude -
watch the Mad Hatter's stint unwind in minor keys -
i thought that that - that hat that sat so squat- was you

at the academy of sovereignty
where massive piles of bones and crows
dominate the dark demeanor of the distant
tears of laughter, tears of loudly lovin’ laughter, that's exactly what we're after

in the purple land of diffidence
buying purple brands of pale deliverance
in the hidden forgotten region, religion
where forgetting – like neglecting - is an optional behavior
and of course, everybody's carcass, corpse keeps looking for a savior

down by the trodden, the unsavoury sovereign shouted
raw with the rotten game of galactic gallows and thrones
ah the one and only poet of starvation
standing in the market of used emotion

endless aisles, end base piles of sadness
masters mean and dirty and their slaves
bargain bins of binary longing, belonging, unrequited love
there’s a sale on betrayal - two for a dollar and three for none

thought i saw a broken bit of joy that once belonged to me
Though when i had it, it was absolutely free
Now they're askin’ fifty, literally frivolous dollars--

mother of deception of the self
see me on my knees, subordinate
to her immaculate calamity
that has transactional realities cooperate
under towers dark with blinded blinds
of my infantile infinity--

i asked my shadow: would she follow me
like a puppy with a crush, herself a pet invertebrate,
to inclinations more persian, more parisian than her will or mine
where i might find a package deal on Love -

on the moon, it read in slowly moving neon letters -
shadows neither show nor speak concerning primal matters!
no, said I, shadows squall and squeal and squeak

drinking gin on the rocks is not that bad at all
since it became impossible to find an Avacado
or my favorite alcohol
just don't answer when she fails to call-

kung tze in the subway car

Kung Tze in the Subway Car - with stonerjazz

Full release on Album: "Simfoniyasi" on:
- Spotify: https://open.spotify.com/album/1uKirufrC1fbyQMrvKqAre?si=-9yZyyavTxCKRteMTlIuug
- Apple Music: https://music.apple.com/gb/album/simfoniyasi/1821658241?ls

Kit: volca modular, uKORG, Roland E-4 Voice Tweaker, Logic Pro.
Acknowledgements:
Audio: Modulated sounds from the Heydar Aliyev Center in Baku:
a) Waveform modulated snippets from “Dastgar Bayati-Shiraz” sung by Alim Qasimov and Fargana Gasimova
b) Traditional instrument sound samples (TBC)

Do the Caspian Bulvar (excerpt)

Jupiter (2008) Cover Version

Gemini Electrician

A scripture song I composed based on Psalm 127:3. "Children are a gift of the Lord, the fruit of the womb is his reward!"

Scripture Songs- Children Are A Gift (Psalm 127:3)

full score and parts

Claude Debussy - Valse Romantique | Transcription for orchestra

Orchestration: Ravel String Quartet in F Major I. Allegro moderato – très doux

Orchestration: Henri Dutilleux's "Sur un même accord" from his Trois Préludes (1973–1988)

full score

SERGEI RACHMANINOFF - PRELUDE op. 32 No. 5 G-major | Transcription for orchestra

Thanks for your visit.

All the music you find here is characterize by my very classical, compositional approach and my similar understanding of music as well as in terms of notation and instrumentation.

 So with that in mind, have fun listening to my music if you like. Thanks!

Nando Florestan is a composer of classical music (and pianist). He studied harmony, counterpoint, orchestration and composition with Osvaldo Lacerda, then went on to study music at Universidade de São Paulo.  He is available to score your film, game etc.  He also knows a lot about music theory and might be available to teach you.

Claude Debussy - Valse Romantique | Transcription for orchestra

myopus

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