This is really cool! I love the rhythms in the marimba, sudden rests, and seemingly missing or shifting notes in the pattern.

Wow. I really like your usage of different instruments and combining them into one piece. I would really love to see this performed live onstage. Great work overall! ✨

Nice piece of music. The flute and marimba really compliment each other and make the music really interesting. The marimba sounds like a really versatile instrument.

I hear this as an exploratory journey, a soundtrack piece almost, with movement and discovery abounding.

Beautiful sound.  Haunting and atmospheric.

@sevarandeep: haha, thanks. I'll tell Philip that!

Exquisite! Feels... breathed into existence by natural events. Well composed

Beautiful performance. The richness of the marimba and the sharpness of the flute perfectly complement each other. There is a very tight structure to the song and yet, it has a wonderful "loose" improvised feel.... I mean that in a very positive way. I really like the evolving emotions through the piece.

Microtonal guitar solo featuring a 12tet + 15tet polymicrotonal tuning system with 24 out of 60 pitches. 2025. 

Microtonal Guitar #2: in between the pitch

Hair of the Dog

Full album: https://soundcloud.com/bloomstaxonomy/sets/foley-age

www.bloomstaxonomymusic.com

Cosmic Village of the Jaguars

​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 - III. Vivace

Elegy for Two Bassoons and Piano
Duration ca. 10'
Performers: American Modern Ensemble; Charles McCracken and Gilbert DeJean, bassoons; Elizabeth DiFelice, piano
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1073

PROGRAM NOTES (SHORT VERSION — FOR PROGRAMS)
After hearing my music, and in particular, my Sonata for Bassoon and Piano, bassoonist Charles McCracken asked me to write Elegy for two bassoons and piano in memory of his father, Charles P. McCracken, a well-known and highly-regarded cellist in the New York musical community. His only request was that I quote a work that his father loved to play, one of the cello suites by J.S. Bach. I also love Bach’s music, so this was an easy request. I quote Bach’s Fifth Cello Suite, one of his father’s favorite pieces, and also Bach’s Third Cello Suite, a work that Charles Jr. likes, creating a sort of father and son pairing of references. Although Charles described his father as gregarious, fun loving and larger than life, this work is perhaps more earnest than humorous, but with a sense of playfulness in the way I manipulate the musical materials.

Elegy was commissioned by Charles McCracken and Gordon Harris through the American Composers Forum and is written in memory of Charles P. McCracken.

Star Crossing

Elegy for Two Bassoons and Piano

Sun Trio for Violin, Cello and Piano
Duration: ca. 35'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=908
For More Info: http://robertpaterson.com/sun-trio

PROGRAM NOTE
Sun Trio originated when I first started the film score for a documentary entitled Journey Into Courage. After writing opening music to the film, director Bess O’Brien and I concluded that it was best to change some parts in order to properly compliment the film. The theme was kept, but some of the other sections were changed and/or edited. I never discarded the original sketches, even though much of it remained on the cutting room floor. Thankfully, it came to good use later in this work.

The first movement, Sun Day, begins with the theme from the Journey Into Courage introduction. This movement is meant to evoke the feelings you get when summer, mid-day sunbeams appear from between the clouds and warm your skin.

Sunset, the second movement, was inspired by Lake Champlain in Burlington, Vermont and my wife Victoria. I envisioned us embraced, doing a Tango–like dance under a multi–colored sunset—at times, to themes from Stravinsky’s L’Histoire du soldat. Victoria is a much better dancer than I, and in this movement, she teaches me the steps. I fumble around and finally get it right, and then the sun sets.

The third movement, Absence of Sun, is connected from beginning to end by one long melodic line. The cello melody is modeled after a classical Indian Sitar raga, specifically the traditional, slow introductory section of a classical Indian composition. The bass piano part supplies the drone while a high-pitched tone row supplies a "starry night" texture. This texture gradually melds into a wind chime accompaniment. The movement peaks in the middle with an intense cello line. At this point, the violin intervallically supports the cello line. Each instrument—and in the case of the piano, each stave—represents a specific, individual texture. This movement intended to sound somewhat improvised.

Sunrise, is meant to evoke the feeling you get when watching the sun rise. There is a "Sun" peak of an octave, a bright yellow ‘E’, symbolizing the first, intense, bright sunbeam peaking over the horizon. In the middle of the movement, a string of rising chords mimics a "fast-forward" of the sun rising in the sky. Later in the movement, the violin and cello play decelerated bird motives. I wrote the bird songs down on the morning of April 17, 1995, while watching the sun rise behind the University of Vermont music building. I use the "mystic chord" by Alexander Skryabin as melodic and chordal material for the anticipation of the rising of the sun. While I was waiting for the sun to rise, I watched the mountains intensely. I finally was about to give up, thinking that the sun tricked me and rose behind some clouds when I wasn’t looking. As soon as I turned around to walk away, I felt an intense heat hit the back of my neck. I turned around and there it was! The sun was there, in all of its glory and splendor, lighting up the mountains. As well as evoking a sunrise, this movement also uses themes from the previous three movements.

The sprightly Sun Dance is a closure movement written to provide a vibrant contrast to the other four. The initial piano motive is taken from Five Movements for string quartet by Anton Webern. The first section introduces the themes, motives and patterns which are then used in subsequent sections. The second and fourth sections are percussive, while the third section is more placid and melodic. The finale is hard and driving, utilizing both snap pizzicati (plucking the string so it bounces against the fingerboard) and loud four-note chords in the strings.

Sun Trio was commissioned by Dennis O’Brien to commemorate the 98th birthday.

Spheres

Sun Trio - I. Sun Day

Sun Trio - Mvt. I. Sun Day

A music representation of a feeling of despair. 
--
Photo by Dmitry Schemelev on Unsplash

Despair

Despair – Ambient & Cinematic Music

Demo, lyrics the same in first and second verse for melody purposes.

I Want You  (Demo- mix by Penny)

Lyrics:

Hook(2x)
Səni dinləsəm geri dönmərəm
Məni seçdin sənə qalsın ölmələr 
Bu lənət həyatdan mən geridönmərəm
Çox mübarizə apardım Qədir dönə bilmərəm

Bridge(×)
Yox dönə bilmərəm mə...n
Geriyə geriyə 
Dönə bilmərəm 
Mən yox

Verse:1

13 yaşından sənin bədənindəyəm Qədir 
Mənə dediyin sözlər nafilə 
Çox kitab oxudum dunya gözü
Mutaliə... Hitler mənim mübarizəm

İstədim ruhumu dəyişim 
Ama olmadı
Futbolçu olmaq istədim şansım olmadı
Ama hec bir zaman mən kölə olmadım
Cox qışqırdımda siz səsimi duymadız


Hook(2x)
Səni dinləsəm geri dönmərəm
Məni seçdin sənə qalsın ölmələr 
Bu lənət həyatdan mən geridönmərəm
Çox mübarizə apardım Qədir dönə bilmərəm

Bridge(×)
Yox dönə bilmərəm mə...n
Geriyə geriyə 
Dönə bilmərəm 
Mən yox

Bridge:(×)
Yox...
Dönə bilmərəm




#Hip-Hop #Trap #Triphop 
#AllMusicGenres#Soul#R&B
#LilUziVert #Ezhel
#Lilpump #Şehinşah
#Eminem #50cent
#Mumblerap #6lack
#Beat


Dönə Bilmərəm (Asperger1/5)

Small Flute Concerto written using BBC SO Professional.

Flute Concerto

The last part is inspired by Claudie Debussy - Clair de lune (Moonlight)

Muse [S4]

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 - III. Vivace

Robert Paterson Composer

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