This is a really fun and quirky piece of music. Lots of variety and the title of Looney Tunes is really fitting.

Fantastic vibes...like a spy moovie soundtrack or maybe a cartoon.

Sweet, gentle, temper-tantric, Tweety Bird <3

This is really good track. I think this is very approach for cartoons and I like it. I felt like I was back in childhood!

Music very funny. It's like a cartoon track. Well done !

Certainly have a sound design spot on here

Very original Looney Tuned theme for sure. Great job!

That flute, piano, saxafone dialogue makes the listener feel like we are in a very lonely tunes. Do You know really the Creator? He created the Heaven and The Earth! Do You know that without Him we are nothing? We cannot breath, or play the piano, play the flute or the saxofone?

man that's fire this is epic I don't know bring back memories

Looney Tunes - III. Tweety Bird has entered the @re-ex Best of the Rest chart at no.5! Amazing how you have painted these pictures - the piccolo melody nails the cheeky element of that little bird! Perfectly vivid imagery, awesome :)

Looney Tunes
Duration: 16'
For More Information: https://robertpaterson.com/looney-tunes
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1428
Perusal Score: https://issuu.com/robertpaterson/docs/looney_tunes_-_fs_bound_perusal

Instrumentation: flute (doubling piccolo), alto saxophone (doubling baritone sax), violin, cello, electric guitar, electric bass guitar (not acoustic contrabass), percussion (drumset, bongos, xylophone, amplified Udu drum and misc. small instruments) and piano (doubling synthesizer). All players doubling misc. small percussion instruments, bird whistles and sound effects.

PROGRAM NOTES (SHORT VERSION FOR PROGRAMS)
(Long version: http://robertpaterson.com/looney-tunes)
In Looney Tunes, each movement uses a specific well-known cartoon character as a musical influence and point of departure. The first movement, Taz, is inspired by the Tasmanian Devil character and plays upon all of Taz’s traits with loud, dissonant outbursts, gyrating transitions, quiet, reflective sections and a few references to his attraction to music. The second movement, Foghorn Leghorn, is inspired by this character’s loud, vocal disposition. The ‘Foghorn’ part of his name makes me think of real foghorns, and a foghorn-like interval begins this low-sounding, baritone sax-heavy movement. The third movement, Tweety Bird, provides contrast with a somewhat high tessitura and includes prominent parts for piccolo, violin, xylophone and alto sax. Although the entire movement only abstractly references the animated Tweety, I try to make all of the high instruments sound bird-like from beginning to end. Two of my favorite cartoon characters of all time are the Road Runner and Wile E. Coyote, so it seemed appropriate to end the work with a fastRoad Runner movement. I have always been fascinated by the seemingly infinite array of ACME inventions the Coyote uses to try and capture the Road Runner, and the last movement reflects this and incorporates a number of exotic, gizmo-like sounds and instruments.

Looney Tunes

Original composition... Alejandro Gonzalez M.

Motives

Guerilla New Music

Looney Tunes - II. Foghorn Leghorn

Looney Tunes - IV. Road Runner

Looney Tunes - III. Tweety Bird

Looney Tunes - I. Taz

Passing Clouds

Epic Orchestral Music.

🎧 STREAMING LINKS:
Spotify ➝ https://open.spotify.com/track/1hmv1xrsxj34rCeb7SbbpX?si=17495490a3fb4367
Apple Music ➝ https://music.apple.com/lr/album/ephemeral-bloom/1700877901?i=1700877902
Youtube ➝ https://youtu.be/ZG83nHchPB8
Tidal ➝  https://tidal.com/browse/track/308916231

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Ephemeral Bloom

Happy Ending

Une de mes nombreuses histoires à fondre de plaisir, racontée par le très talentueux Moussa Lebkiri (comédien, conteur, écrivain, metteur en scène) qui m'a fait l'honneur de lui prêter ses voix.
https://www.lebkiri.com/

HISTOIRE DU BONHOMME DE NEIGE QUI VOULAIT MAIGRIR
Par un beau soir d'hiver, un petit garçon se promenait tout seul en dehors de son village de montagne. En arrivant dans un pré, il entendit de petits sanglots. Il se demanda d'où cela pouvait venir. Comme il vit une haute et large silhouette au milieu du pré, il s'en approcha car c'était de là que venaient les sanglots. Arrivant près de la silhouette, il s'aperçut que c'était un bonhomme de neige, au moins deux fois plus grand que lui, qui pleurait.
— "Pourquoi pleures-tu comme ça ? demanda le petit garçon, un grand bonhomme de neige comme toi, ça ne pleure pas !
— Moi si, répondit le bonhomme de neige d'une petite voix mouillée. — Pourquoi pleures-tu ? redemanda le petit garçon.
— C'est à cause de ma taille. Chaque hiver c'est pareil : des enfants s'amusent en me faisant avec de la neige. Ils prennent beaucoup de neige, en font un gros tas, me mettent un vieux chapeau troué sur la tête, deux cailloux qui me font mal à la place 1des yeux, et une carotte même pas fraîche pour le nez, et ils trouvent ça beau. Mais moi, je me trouve gros et laid."
Et là-dessus, le bonhomme de se remettre à pleurer davantage.
— "Mais arrête de pleurer, lui dit l'enfant, tu vas finir par fondre !
— Fondre ? dit le bonhomme, mais c'est merveilleux ! C'est justement ce que je veux, perdre tous ces kilos qui me font ressembler à un éléphant ! Ouin ! Ouin !
— Attends ! dit l'enfant, si c'est maigrir que tu veux, je peux t'aider."
L'enfant se met à creuser un peu les hanches du bonhomme de neige.
— "Hi ! hi ! hi ! tu me chatouilles, dit le bonhomme en se trémoussant.
— Arrête de bouger, dit l'enfant. Si tu crois que c'est facile de te refaire une beauté... Là, comme ça, ça te plaît ?
— Non, je trouve que mes jambes sont encore trop grosses.
— Bon, attends."
Et l'enfant d'affiner les jambes comme un vrai sculpteur. — "Etlà?
— Ça va pour les jambes, mais regarde mes pieds, on dirait deux gros cochons en train de dormir !
— Comment les veux-tu ?
— Beaucoup plus fins, et bien dessinés."
Et l'enfant de s'appliquer encore pendant cinq bonnes minutes.
Tout à coup, alors qu'il avait presque terminé, il sentit le bonhomme vaciller doucement, puis basculer d'avant en arrière.
— "Attention ! cria l'enfant, tu vas tomber !"
Mais trop tard, le bonhomme tomba de tout son poids sur le petit enfant.
— "Eh ! relève-toi, cria l'enfant, tu me donnes froid dans le dos !
— Excuse-moi, répondit le bonhomme, mais je ne sais pas encore très bien marcher.
— Ce qu'il te faudrait, dit l'enfant en essayant de se dégager, c'est une bonne canne. Attends, je vais t'en chercher une."
Quelques instants plus tard, il revint avec une solide branche de bois mort, et la donna au bonhomme qui put enfin se relever.
— "Merci, dit le bonhomme, grâce à toi, je vais maintenant pouvoir voyager dans les montagnes qui sont si belles, surtout pendant l'hiver ! Au revoir ! Je ne t'oublierai jamais.
— Au revoir, répondit le petit garçon un peu triste de se séparer si vite de son nouvel ami, mais fais attention aux avalanches, tu risques de reprendre du poids !
— Ne t'inquiète pas, dit le bonhomme, j'ai bien vu comment tu as fait. Maintenant, je connais la recette. Merci pour tout, et adieu !"
Quelques jours plus tard, des hommes revinrent tout affolés au village. Ils disaient avoir vu l'abominable homme des neiges, un monstre de plus de deux mètres de hauteur, large comme une armoire à glace, et qu'il laissait des traces dans la neige tellement profondes qu'on pouvait s'y enfoncer jusqu'au genou. Le petit garçon souriait discrètement dans son coin, en pensant au bonheur de son ami qui marchait enfin libre et heureux dans ses belles montagnes.

Myckaël Marcovic, 1986.

Histoire du bonhomme de neige qui voulait maigrir (feat. Moussa Lebkiri)

Original composition….. Alejandro González M.

Ánimas

Another project created in 2022 but it wasn't finished, there was little left, just the end and a good mastering. This project got lost among the others, and I completely forgot about it, but in October I found it, finished it and released it on the 20th. I hope you enjoy! :)

A New Beginning

Vītulārī

I began writing the harmony and the main guitar riffs of this song right on Blackout Tuesday. Watching antiracism protests around the world, really got me inspired. Hence the title of the song.

No Racists Allowed To Enjoy

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.

Looney Tunes - III. Tweety Bird

Robert Paterson Composer

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