This has a pleasantly meandering feel about it. The feel of a casual stroll where you observe things as you pass by. Love the tones. You caught me mixing so I'm listening on decent headphones and it sounds great!

A very nice beat with the marimba. Good job making the sound come to life. It reminded me of the classic Disney movies with a modern twist.

This is a really playful take on the flute and marimba. The atmosphere sounds a bit naughty in my opinion and has a bit of a tropical feel to it. Overall, I like this! ✨

how is your recording process sound so open? how big is your studio space?! so jealous. Haha awesome work mate

Another beautifully executed piece!! Great job, Robert!!

I how you balance with being melodic and flirting with atonality

If You like this song please listen my other organ compositions.They are titled "4" and "6" greetings

ASFdeafboar - Dark Cathedral

In this track, I experimented with the fusion of a simple, crisp melody played on a Stratocaster with a complete synthetic ensemble. In fact, all the sounds in this track, except for the guitars, are sourced from the stock plugins of the MPC.

The bass sound, reminiscent of that of an electric bass, is synthesized using the Bassline plugin on the MPC. I'm truly fond of the rounded sound I've achieved.

The Mellotron pads contribute a somewhat dark backdrop to the ensemble, creating an intriguing contrast with the crisp country sound of the Stratocaster.

I hope you enjoy the track; please share your thoughts in the comments.

Foggy Day

Flute Castle

Ellesmera prod. and composed by Nomax

Subliminally Sublime

Element of Surprise

iTunes

Element Of Surprise

Un Cántico Nuevo…. Alejandro González M.  Agosto 2023.

Un Cántico Nuevo

I think I have seldom been so optimistic about something I created, so free of doubt and worry - which is coincidentally a feeling I want to convey with this new piece and project / album.

I dearly love the OST for "The Assassination of Jesse James by the Coward Robert Ford" by Nick Cave & Warren Ellis and always wanted to do something in a similar fashion, but up until now lacked the means to do it. The means being a library (I'm not big on collaborations of such an interconnected nature and am quite the control freak, so outsourcing performances isn't yet my forte) that could portray solo strings in this very specifically rustic and imperfect, soft and brittle form that is so iconic to Warren Ellis' style of playing.

Well, along come Orchestral Tools and break my mind with the unbelievably authentic and brilliant "Peteris Vasks' Strings", forcing me to make this!
I gotta say, I've never been more happy about any kind of enslavement.

But jokes aside, this really is one of the best purchases I have ever made, and one of the best pieces of music I have ever made - maybe not because of some brilliant melodical structure or a perfect arrangement (which this obviously doesn't have :P), but because of this unbelievably authentic and iconic sound, and the atmosphere it creates.

I did have to do quite a bit of EQ adjustments and automation to iron out some of the more resonant moments (didn't quite achieve a perfect balance, but I'm gonna get better the more I use it), plus making my own mic-mix cause the library was recorded in a bloody huge church - but the close mics are, despite this, bone dry and together with some of the other options able to have this up-close, intimate feeling that I wouldn't have thought possible.
One or two samples are a little borked sometimes, but with a bit of imagination one can circumvent these small errors.
All in all, this product is nigh perfect - for me, obviously :)

But enough about this - what Revalescence is about, is a journey. As always. I need to wander, both in reality as in my fantasy so this kind of theme will never go away, most likely :P
Anyhow, the term describes the process or rather state of getting better, healing. And since that is such a loose concept, you could apply it to really anything : a struggle with mental health, a physical injury or other avenues of trouble that open themselves up to you. 
This time, I will not describe an actual story, but rather a more metaphoric path to betterment, whatever that might entail for you specifically.
I love placing things into the setting of an Arizona desert, cause it's just so relentlessly beautiful to me, but feel free to wander off to anywhere you would like to go with it. Sometimes, I'll be more setting-specific, other times it'll be more ambiguous - whatever I feel like at any given moment.
You can expect ups and downs, but at the end I will try to weave it all together into a calming, reassuring and hopeful outlook and reflection on things past, present and future.

All of this sounds terribly pretentious and usually I would refrain from writing bloated nonsense like that - but I think this time, I'll try being more conscious about creating music, with a broad, human theme in mind that one can read into if one chooses to. Don't know whether or not it's gonna work out, but what the hell - I'll try anyway :D

If you did, thank you very much for reading through all of this and I hope you'll find a connection to Revalescence, as have I.

Cheerio,
Cedric

Revalescence

Leaving Home

Revalescence - Leaving Home

El Mar Etéreo/ The Ethereal Sea

A New Dawn

​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 - II. Playfully Seductive

Life is But a Dream for SATB Choir
Duration: ca. 5'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=999
For More Information: https://robertpaterson.com/life-is-but-a-dream

PROGRAM NOTES
The text and initial melody for Life is But a Dream is derived from the English nursery rhyme Row, Row, Row Your Boat, a popular round sung by children all over the world. While working on this piece, I discovered that there quite a few variations—most of them humorous—as well as versions in various languages.

In Life is But a Dream, I use the English text in its entirety and also words and phrases from the German, French, Latin and Italian versions. Throughout the piece I superimpose different words and phrases, creating a kind of flowing, quilt-like dreamscape.

Eternal Reflections

Buy on Amazon

Life is But a Dream

American composer Robert Paterson is a true New Yorker—born and bred in Buffalo, he lived in Rochester and Ithaca for over ten years, in New York City for over twenty years, and now lives in Saratoga Springs, near the Adirondacks. Paterson’s colorful music embraces a wide variety of themes, everything from goddesses and online dating to mathematics and the environment. His music is filled with emotion and fierce rhythmic energy, marked by elegance, wit, and meticulous craftsmanship. Named Composer of The Year by the Classical Recording Foundation at Carnegie Hall, Paterson is the winner of the Alfred I. DuPont Award, and his opera Three Way won the Grammy® under Best Classical Producer of the Year. His music is often a Best of the Year pick on National Public Radio. His orchestral tone poem, Dark Mountains, regularly airs on NPR’s Performance Today. Three Way premiered with Nashville Opera, then BAM (Brooklyn Academy of Music), and across the United States. Minnesota Orchestra, Louisville Orchestra, The Oratorio Society of New York, Buffalo Philharmonic, Albany Pro Musica, Albany Symphony, Musica Sacra, Austin Symphony, Vermont Symphony, and ensembles worldwide perform his works. Paterson gives masterclasses at the Curtis Institute of Music, New York University, the Aspen Music Festival, the Cleveland Institute of Music, and more. He is the Artistic Director and house composer for Mostly Modern Projects. Robert is a lifelong vegan and advocates for animals and the environment, celebrating the natural world with ground-breaking works such as his Triple Concerto, A New Eaarth, Listen, and I Go Among Trees.

Duo for Flute and Marimba - II. Playfully Seductive

Robert Paterson Composer

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