a fog lightens mix of the song Torres Strait

Without drums and a different guitar mix than on the original version.

all instruments NIC and TEX MEX SHAMAN

Lyrics is lent from The Waste Land by T.S. Eliot

The original mix: https://soundcloud.com/texmex-shaman/torres-strait-nic-and-the-texmex-shaman

Torres Strait - the fog lightens mix

TexMex Shaman

TORRES STRAIT - the fog lightens mix [TexMex Shaman]

listen to the sound in the ice on a lake

Production Note(It is highly recommended to read, as understanding the concept makes it even more interesting and changes the way you listen to it.)
https://furicomusicteam.blogspot.com/p/in-mirror.html

Auditorily In The Mirror

Time passes like in high school, very fast in the good moments and very slow in the ones when I don't have to remember.

BACKWARD

„Verliebte Gitarre“


Ja es ist so. 
Wenn erst einmal eine Gitarre träumerisch ihre liebenden Saiten in Schwingungen bringt, dann hat sie eine Liebesgeschichte zu erzählen.

Es ist was es ist  L I E B E.

Ein Hauch von zarter Melancholie. Lauschen wir der Guitarre und folgen heimlich Ihren Träumen nach.

Ich bin kein Gitarrist. Habe hier versucht mich in die melancholische Stimmung eines Gitarrenspielers hinein zu versetzten. 

Entspanntes zuhören.

Folgende Klangbibliotheken wurden für dieses Projekt verwendet:
Spitfire Audio  Symphonic Strings Evolutions
HEAVYOCITY FOUNDATIONS NYLON GUITAR

Vielen Dank für Eure Aufmerksamkeit.

Foto: 	 Björn Cloppenburg
Musik:      Björn Cloppenburg
Alle Rechte vorbehalten.

SOUNDCLOUD: https://soundcloud.com/cloppenburg-music 


"Guitar in Love"


Yes it is.
Once a guitar dreamily vibrates its loving strings, it has a love story to tell.

A touch of tender melancholy. Let's listen to the guitar and secretly follow your dreams.
It is what it is LOVE.
Sorry i'm not a guitarist. Here I tried to put myself in the melancholic mood of a guitar player.

Relaxed listening.

The following sound libraries were used for this project:
Spitfire Audio Symphonic Strings Evolutions
HEAVYOCITY FOUNDATIONS NYLON GUITAR

Thank you very much for your attention.

Photo: Björn Cloppenburg
Music: Björn Cloppenburg
All rights reserved.

SOUND CLOUD: https://soundcloud.com/cloppenburg-music

Guitar in Love

Guitar In Love

Bubble Heading

Hidden Paths

It took me a long time to complete this for several reasons. At times, John (or I) would forget the title, but I would tell him I had worked more on it. I liked the words from John, but couldn't find the emotional center. Glad I stayed after it now.

John: lyrics
Edro: arch-top guitar, vocals, octave mandolin, piano

It's a pretty little blacktop
With yellow stripes running long
How i got here's a story
Best served in a song
And you'll say, Lucien
You're a loser
Don't know how you get along

Chorus
I'm broke down
On the side of the road
No place I'm going
Or which way to go
If heaven's a highway
I'm doomed where i stand
End of the road
For old Lucien Ferrand

My life's a story better than Job
It started in a womb
Now this blacktop road
My mom was a saint
Or something real close
She put up with dad
And loved me the most

I been there and done that
Got the shirt to tell
But no one told me
How deep was the well
It's best summed up
By a paramour of mine
Lucien, she said, you're a tough sell

Chorus

If luck was a bucket of mishaps
And my troubles all existed there
Why I'd toss the old bucket in the well
And mayhaps my luck will flare
And head toward a nicer place
On this yellow striped blacktop
Right now, it's about all i can bear

It's true, I'm broke down
On the side of a road
But I know where I'm going
That i can guarantee
And it ain't the hell highway
With a yellow stripe brand
It's just the beginning
For old Lucien Ferrand

Lucien Ferrand (John Eagle lyrics)

redempted

Unsere Stadt

Andrew Friedman is a San Francisco-based clarinetist, composer, and educator devoted to performing music new and old, large and small. His freelance credits include symphony, ballet, and opera institutions around the Bay Area and beyond; he is also a frequent performer at the Hot Air Music Festival and tours nationally with the Oakland-based classical/hip-hop fusion group Ensemble Mik Nawooj. Recorded appearances include on the From The Top and Performance Today radio programs, the soundtrack to Christopher Coppola’s 2017 feature film Torch, and Bay Area composer Taylor Joshua Rankin’s debut album Palettes.
Friedman graduated with honors from the University of Puget Sound with degrees in Music Performance and English and holds an MM from the San Francisco Conservatory of Music; he spent summers training at the Round Top Festival Institute and the Eastern Music Festival. His teachers included Carey Bell, Dr. Kelly Burke, and Jennifer Nelson.

www.andrewfriedmanclarinetist.com

In the Refuge of a Cave:
Before there were bunkers, fortresses, or strongholds, there were caves. Since long before the dawn of recorded history, caves have held a universal significance as a source of refuge—a safe haven from the elements, predators, and natural disasters. Inversely, however, caves have widely been known to inspire a sense of apprehension and foreboding as well—potentially harboring in the darkness the very dangers from which they are meant to offer protection.
Writing these program notes in late July of 2020, I can't help but compare the duality of caves to the tremendous changes that have taken place during the last six months. The Pandemic has forced just about everyone to reinvent their lives in order to preserve their safety and security. Whether metaphorically or analogously, we have all retreated to our caves in one way or another. For example, while many of us have achieved refuge through social distancing and sheltering-in-place, doing so has forced us to face the existential darkness of isolation and confinement.
In the Refuge of a Cave (2020) is my perspective on these themes as a composer and musician. What musical artists could once rely upon—concert spaces, audiences, even the ability to perform onstage together—has disappeared or drastically transformed in mere days. Now, one's own insights, abilities, and resources are the only certainties in their musical endeavors. When writing In the Refuge of a Cave, I imagined these restrictions as a literal cave surrounding the musical artist. What could a musician do to create music if they were isolated within a cave? How could one find artistic fulfillment in such a lonely and remote place? The only natural answer is that a musician would need to make do with the sonic resources and tools that the space granted them. The musician would utilize the reverberations and echoes generated by the cave's walls; in doing so, they would stumble upon a way to play music with another—a past version of theirself—an echo.
In the Refuge of a Cave is dedicated to my many friends and colleagues who have found themselves forced to navigate a unique cave of their own in these challenging times. Thus, it is designed to be playable by any instrument or voice type, and no two performances will ever sound alike.

Composed and mastered by Nicholas Denton Protsack.

Performed and recorded by Andrew Friedman.

Andrew Friedman (clarinet) - In The Refuge Of A Cave

An ongoing aspiration of BMI Award-winning composer and cellist, Nicholas Denton Protsack, is to seek new connections between music and the natural world. Called a "(composer) to keep a close eye on" by the Canadian Music Centre, Nicholas' ecologically informed music includes composed works, studio albums, and experimental improvisations, and has been featured in a wide variety of concert settings across North America, Europe, and New Zealand. Recent accomplishments include two first prizes in the 2021 SOCAN Foundation Young Composers Awards and commissioned works for the Toronto Summer Music Festival and the American Prize-winning Ensemble for These Times (E4TT).

	As a cellist, Nicholas is an active freelance performer and advocate of new music—frequently involved in collaborative projects that range from traditional to highly experimental concert idioms. Although primarily a chamber musician, he has also appeared as a soloist with the Okanagan Symphony Orchestra and the San Francisco Conservatory Orchestra.

	Nicholas is currently undertaking a PhD in music at Victoria University of Wellington (NZ), studying with composers Michael Norris and Dugal McKinnon. His other major teachers have included David Garner (composition), Jean-Michel Fonteneau (cello), Jennifer Culp (cello), and Morna Howie (cello).