Istanbul

### Still looking for a dedicated singer to join me on this adventure. IF serious, please DM me ####

My Endless Love

A piano sketch written at night
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Piano sound: Spitfire ORIGINALS - FIREWOOD PIANO
www.spitfireaudio.com/originals/

Sketch Notturno 3 - 20 - 21

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POST PUNK TYPE X GOTHIC ROCK TYPE X DARKWAVE TYPE X NEW WAVE TYPE BEAT 

ROOFS (POST PUNK X GOTH ROCK X DARKWAVE TYPE BEAT INSTRUMENTAL)

Justin Bieber - Peaches [Medieval Korean Style]

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#alternative
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ghostboy

Back to The Oldskool

Back to the oldskool (Instrumental)

Back to the oldskool

Written, Played, Arranged & Recorded by Elijah LeComte- ©2020

Version: 1

Instruments:
#Groove Instruments Vintage #Tele #Guitar
#Ibanez Acoustic/Electric Guitar
Worlde Panda #Midi Controller Drum Pad/Mini Keyboard

Gear: 
TC-Helicon GO GUITAR PRO Portable Guitar Interface
#PigHog 1/4 Cables

Software:
#Garageband

Blood In My Rum

Duration: 13'
Instrumentation: for trumpet, violin, cello, piano, marimba (six-mallets), percussion, harp and banjo
For more information: https://robertpaterson.com/journey-into-courage-film-score/suite

PROGRAM NOTES
Journey into Courage is a documentary directed by Bess O'Brien about domestic violence in rural Vermont. It was originally a touring stage production with a cast of women from rural Vermont who were victims of domestic violence. The documentary is largely made up of footage shot during the tour as well as interviews of the women in the stage production.

Journey into Courage Suite is derived from the soundtrack for the documentary and is intended to be performed on stage as a suite for eight musicians. The performing ensemble can choose which versions (if there are multiple ones) of each piece it will perform. The short version, e.g. without repeats, may be performed if a shorter suite is desired.

Journey into Courage - 7. Finale, Part II

String Quartet No. 1
Duration: 22'
Publisher: BIll Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1026
For More Information: https://robertpaterson.com/string-quartet-no-1

PROGRAM NOTES
My original intent with this work was to write a set of four independent miniatures. After writing the first maximally-sized one, I decided to change course: these four "miniatures" are now my String Quartet No. 1.

Although these four movements are designed to be independent, small amounts of material are used interchangeably between each movement. Most notably, material from the first two movements is used in the third, and material from the third movement is used in the fourth.

The most prominent aural feature of the first movement, Fast and Sprightly, is the recurring "clarion" motive. This motive evolves into various thematic gestures and also reappears in the next two movements. Another prominent feature of the first movement is the use of jazz references. The string quartet is required to "swing," a style of playing usually only utilized by jazz musicians and big bands.

The second movement, Logy, begins by parodying North American, southern-style country waltzes. While composing this movement, I had visions of my mother interrupting "Three good ol’ boys fiddlin’ on a porch in Rabun Gap, GA," quipping at them to stop. The quipping is represented by the first violinist interjecting the "Rob–ert" theme. This strange, surrealistic daydream probably originates from memories of my mother calling my name from the other side of the bedroom door when I was a boy.

A section called "Andrew Lloyd Webber Disease" occurs in the middle of the second movement. This section is a schizophrenic alternation of a sick, dissonant, violin duo with an Andrew Lloyd Webber-sounding viola and cello duo. By the end of the movement, my mother joins the "Good ol’ boys" for a final song, after they have all become sick from eating too many boiled peanuts.

The third movement, Sad, Luscious Adagio, uses material from the first and second movements, but at a much slower tempo. Each player has a featured solo in this movement: the cellist plays a solo in double-stops and the violinist plays one made up of almost entirely artificial harmonics. The second violin and viola solos are intended to highlight the instruments’ singing qualities and the performers’ lyrical abilities. As with Logy, I use material recycled from previous movements.

Although the fourth movement, Energetic Polka, is not a strict polka, it has a polka-like beginning. It also contains a few short "quotes," the most notable one being the appropriation of the melodic line from the theme song from the television show The Love Boat.

Material from other movements is also used in Energetic Polka, particularly by the cello. The cellist never has a chance to play the "Pseudo-fugato" theme in Logy, so the cellist "aggressively" reintroduces it in this movement. Energetic Polka ends with a section entitled "Hyperfast shimmy and shake."

The Indianapolis Quartet: Robert Paterson - String Quartets 1-3

String Quartet No. 1 ("Love Boat") - II. Logy

The Essence of Gravity - for Mixed SATB Choir
Duration: 18’
Commissioned by Robert Geary and the Volti choir of San Francisco
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=902
For More Information: https://robertpaterson.com/the-essence-of-gravity

PROGRAM NOTE
In The Essence of Gravity, I use a few key words, phrases and phonetic sounds rather than an elaborate text. Since there are so few words, I designed the text myself, and it is made up almost entirely of onomatopoeia words. The word ‘gravity’ in the title not only refers to the force of attraction by which objects tend to fall toward the center of the Earth, but also to a sense of seriousness. Each movement reflects one or both of these definitions.

The first movement, Echoes of War, contains words and phrases that make me think of war. A type of weapon called a “gravity bomb” also inspired me. This weapon is delivered by aircraft and does not contain a guidance system; it follows a ballistic trajectory. Until the later half of World War II this described all aircraft bombs, and the vast majority until the late 1980s.

The second movement is entitled Love and Kisses. Although love is an undeniably heavy subject, this movement is intended to be much more playful than serious. Perhaps it is more about the emotional pull that people have on each other.

Before I composed the third movement, Infinite Oceans, I walked along San Francisco’s Baker Beach and Lands End. Although I’ve been to the ocean many times, I am always struck by the seemingly infinite-sounding tides and lonely-sounding foghorns I often hear in the distance. This movement is inspired by the gravitational pull of the moon, the primary force responsible for the ocean’s tides. This movement also alludes to the stories of the mythological Greek Sirens that lured sailors to their deaths with their beautiful singing.

Although many people might not think of machines as evoking a sense of gravity, they seem important in ways that may not be readily apparent. Without machines such as the Space Shuttle, we would not be able to explore outer space. For better or worse, they are integral to our modern way of life. In this sense, the fourth movement, Machines, pays homage to the machines that enrich our lives by allowing us to defy gravity.

Eternal Reflections

The Essence of Gravity - III. Infinite Oceans

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.

Journey into Courage - 7. Finale, Part II

Robert Paterson Composer