out of blue and into the storm

smooth floe

Hello,
Welcome to The Algorhythm!
This is a compilation of beats, where the making of was filmed. As seen on YouTube.

The Algorhythmn (Intro)

Written and Arranged by
Dave Walker and Robert Davidson

Instrumentation and Programming by
Dave Walker and Robert Davidson

Recorded, Mixed and Produced by
Dave Walker and Robert Davidson

© November 2023 Walker/Davidson
All songs are copyright controlled
The copyright in these sound recordings is
owned by Dave Walker and Robert Davidson
All rights reserved

Demons (Walker/Davidson)

Half Time 2024

Behringer Neutron 2

Main sequence Behringer Neutron; bass Doepfer A-100; randomised notes Behringer Model D, second sequence Make Noise 0-Coast

Sequence 6

Making of the beat was filmed, check the video:
https://youtu.be/OM22mryQfy8

02022020

FIND A WAY

WALTZ OF EXISTENTIAL DESPAIR

this album come directly from my heart, there is alot of emotion and thought that is not visible to the average listener so before you listen i need you to really think into my lyrics and understand me. Thank you !!

Lame

Duration: ca. 16'
Instrumentation: mezzo-soprano and piano
Performed by American Modern Ensemble: Blythe Gaissert, mezzo-soprano; Blair McMillen, piano

World Premiere: American Modern Ensemble, Blythe Gaissert, mezzo-soprano, Blair McMillen, piano, Carnegie Hall, Weill Recital Hall, New York, NY, USA, April 26, 2018.

Publisher: Bill Holab Music

View Score: https://issuu.com/robertpaterson/docs/paterson_captcha__score-mezzo-sopra

Buy Sheet Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2782

For More Information: https://robertpaterson.com/captcha-mezzo-soprano-version

Also available as a version for baritone and piano.

PROGRAM NOTES
CAPTCHA originated with an assignment I was given as a participant in the American Opera Projects (AOP) Composers & The Voice program. Throughout the year, we wrote a variety of arias and songs and were given various "challenges." Some of the challenges included using no more than four lines of text, using found text, using prose, and also trying to avoid the passagio (a term used in classical singing to describe where different voice ranges cross over, for example, where the chest voice and head voice cross). I neglected to incorporate any of the challenges into previous pieces, and I only had one song or aria left, so I had to incorporate all of the remaining challenges into a single piece.

For found text, I decided to use CAPTCHA texts. The term CAPTCHA (for Completely Automated Public Turing Test To Tell Computers and Humans Apart) was coined in 2000 by scientists at Carnegie Mellon University. A CAPTCHA is a program that protects websites against bots by generating and grading tests that only humans can pass. For example, humans can read distorted text presented as a graphic, but current computer programs cannot. To find interesting words and phrases, I spent many tedious hours in front of my computer loading CAPTCHA texts. Actually, what I ended using are reCAPTCHA texts, which are derived from a free version of CAPTCHA that uses combinations of real words from scanned books that need human confirmation and gibberish text.

I initially wrote one song entitled CAPTCHA for baritone and piano, but later decided to compose an entire song cycle that incorporates the original song. Each songs uses a few key words (the few that are actually real words and phrases) as a springboard. I attempt to phonetically interpret the other words and phrases that don’t make sense, infusing emotion where none exists. Ultimately, my goal is to create an emotionally moving experience, despite the nonsensical nature of the words.

CAPTCHA (Version For Mezzo-Soprano And Piano) - II. henry Folutch

Skylights
for clarinet, violin, cello and piano
Duration: 10'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1472
Online Perusal Score: https://issuu.com/robertpaterson/docs/skylights-fs-bound_perusal
For More Information: https://robertpaterson.com/skylights

PROGRAM NOTES
Much of American culture revolves around making things lighter. Cars and planes are constantly re-engineered to be made lighter and more aerodynamic, people diet to lighten themselves (with diet foods that are often “lite”), CD Walkmans and running shoes are continuously re-designed to be lighter and less inhibiting, etc. People are also always figuring out ways of artificially lighting areas that are naturally dark, whether with fires, candles, overhead lights or flashlights.

Ironically, many composers such as Liszt and Wagner have tried to make music heavier, denser, and thicker. Of course, some composers have also tried to make music that sounds light and airy, such as many of the French composers of the late nineteenth and early twentieth centuries. In this work, I try to take dark-sounding elements and make them sound lighter, whether though reflections, echoes, range, articulation, or especially dynamics.

My original inspiration for this work is the way in which skylights naturally light up a dark room. Most of this music was written at the Atlantic Center for the Arts in New Smyrna Beach, Florida, where it was an amazing surprise to find out that many of the buildings are lit by skylights. One particular building at the Atlantic Center for the Arts, the Hubbard Music Studio, provided inspiration for the majestic beginning. The walls in this very tall space rise up to a ceiling that is basically a huge skylight.

There are a few similarities between this work and another work I wrote called Star Crossing, such as repeated note ostinati, low, isolated bass notes in the piano and dense chords played staccatissimo. In both works, I try to represent light through sound.

Half Time 2024

Reminiscence (Laura)