Great ensemble writing  and it is very well played! I like the raw rhythms and micro variations of the melodic cells. While normally this is a minimalistic technique the piece is not minimalistic

This is fun! I saw the title, then heard the music.. I thought, 'Hammers' - ok that's the awesome piano part ... and 'Pythagoras', ok, some Balkan or Greek winding scales in a math equation, and then I read your program notes, which made things a bit more complex, lol.

Just wanted to drop by to compliment the piano rhythms. Also can't complain how much of the melodies remind me of the part of the world I call home :)

I am definitely enjoying it like all your compositions. A gorgeous piece!!

Intricate and mellifluous, I love the interplay on this and how it seamlessly flows.

Nice modern composition with lovely notes.

this makes me think of Oliver Messiaen, brilliantly done!

Suite for String Orchestra
Duration: 15'
For More Information: https://robertpaterson.com/suite-for-string-orchestra
Publisher: Bill Holab Music: http://www.billholabmusic.com/composers/robert-paterson/
Purchase Sheet Music: http://billholabmusic.com/store/index.php?main_page=advanced_search_result&search_in_description=1&keyword=%22suite+for+string+orchestra%22

PROGRAM NOTE
Unlike some of my previous works, Suite for String Orchestra is not inspired by an over-arching programmatic theme. Although there are some technical and motivic relationships between some of the movements—particularly the first and fifth—the movements are generally unrelated and are meant to be noticeably distinct. It is in five short movements and is intentionally written in an “old-fashioned,” somewhat archaic style. I initially played around with the idea of titling this work Old-fashioned Suite or Old Time Suite, but there seems to be a sufficient sprinkling of “new fangled ideas” in this work to make these alternative titles seem inadequate.

The first movement, Allegro vivace, is written in a “mid-20th century American” style. My model for a few of the sections in this movement is the evocative, German phrase Sturm und Drang, which literally translated means “storm and stress.”

In the second movement, Trapped waltz, I imagine an ethereal, yet cognizant waltz floating above the stratosphere, looking for a place to rest, but hobbled and shackled by a pounding rock and roll drumset. I see this as a metaphor for the various dances throughout history that have come and gone but are continually vying for attention in contemporary culture. The movement fades out at the end, as if the waltz is eternally looking for a place to settle down. Admittedly, I was somewhat inspired by the collage works of Charles Ives.

The third movement, Nocturne, begins slowly and sadly, and I imagine the pulse in the beginning as similar to the gentle breathing of someone who is asleep. The middle of the movement is much more intense and violent, and the end is as soft and calm as the beginning. The first chair violin and the first chair violoncello have brief solos in this movement.

Although material from the middle of the fourth movement, Balinese scherzo, is derived from a Balinese scale, the beginning is somewhat chromatic and the ending is essentially based on the E-major scale. This movement is distinctive in that the orchestra is asked to play pizzicato almost the entire time.

The fifth movement, Finale: allegro moderato, is the movement that is most reminiscent of the first movement. The ending combines material from the beginning of both the first and fifth movements.

Suite For String Orchestra - V. Finale: allegro moderato

Written: 2019
Duration: ca. 12'
Instrumentation: flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano (pianist plays from score)
Commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA)
World Premiere: Exponential Ensemble, Opera America, Marc A. Scorca Hall, New York, NY, October 30, 2019

MOVEMENTS
I. Pascal’s Triangle
II. Noether’s Theorem
III. Einstein’s Daydream
IV. The Hammers of Pythagoras

PROGRAM NOTE
Relative Theory is a four-movement, ca. 12 minute work for flute (doubling piccolo), oboe (doubling English horn), clarinet (doubling bass clarinet), and piano. Each movement is inspired by a mathematician or theoretical physicist. I was inspired by a story that the commissioning ensemble, the Exponential Ensemble, told me about how much they enjoy performing programs for children that relate math to music. In a fun, yet hopefully meaningful way, the movements of my piece are designed to draw parallels between these two distinct, but interrelated worlds.

The title Relative Theory is a play on words: it loosely refers to Albert Einstein’s famous Special Theory of Relativity, but also to musical theories and theoretical principals that are used between each of the movements. All of these movements are inspired by mathematicians or theoretical physicists, and their theorems and theories inspire the music itself.

In Pascal’s Triangle, triads and intervallic content are structured so as to use binomial coefficients in musical ways. In Noether’s Theorem, the music mirrors her theorem, which states that every differentiable symmetry of the action of a physical system has a corresponding conservation law. Einstein’s Daydream, perhaps the most fanciful movement, quotes a few themes from Beethoven, J.S. Bach and Mozart, three composers who’s music Einstein loved to play on his violin. The work ends with a movement entitled The Hammers of Pythagoras, inspired by a legendary, apocryphal but nevertheless playful tale of Pythagoras passing by a blacksmith at work one day, and discovering that musical notes could be translated into mathematical equations.

There are some fascinating programmatic relations that dictate how thematic materials are used in various movements. Albert Einstein thought very highly of Emmy Noether, a mathematician who never achieved the fame she deserved because she was female. In fact, some of her theories inspired Einstein. Therefore, some of the themes in the second movement are used in the third. Einstein and Pythagoras both figure prominently in music history, albeit for different reasons, so themes from each of these movements permeate back and forth.

Relative Theory was commissioned by the Exponential Ensemble, with funding from the New York State Council on The Arts (NYSCA).

LINKS
https://www.exponentialensemble.com/
https://www.robpaterson.com/
https://robertpaterson.com/relative-theory

EXPONENTIAL ENSEMBLE
Anna Urrey, flute
Kemp Jernigan, oboe
Pascal Archer, clarinet
Geoffrey Burleson, guest pianist

Relative Theory - IV. The Hammers Of Pythagoras

Talk Of The Town

Sup guys, it's me in basement playing guitar. This shit is fucking lit.  lol. 

Anyone want to sing on this track?

Made in my basement btw. This was pretty fun to make. I got another song coming up. Probably going to post it next weekend or later. Idk. 

Jerrome Allen
Jerrome is cool 
Jerromey is my homie
Shout out Sam May. Lol.
Also thanks for listening, liking, commenting, reposting, and following. <3

Basement Guy

Lyrics :

Everyday’s been looking the same now
It feels like 10 years rolled in one
Everyone's been hoping for change now
It’s taking way too long to come

How do you count the days when
They all just feel the same and
You hope that it will change but it never does

I know one day this will end and
We won’t have to pretend that
Everything’s ok when it never was

How do you count the days when
They all just feel the same and
You hope that it will change but it never does

I know one day this will be just
Another memory of
A time when everything seemed out of touch

So tell me
How do you count the days when
They all just feel the same and
You hope that it will change but it never does

I know that this time we spent
Living through the World's distress 
Will help to shape the people we’ll become 

Won’t you tell me
How do you count the days when
They all just feel the same and
You hope that it will change but it never does

Count The Days

Hypnotic - Zella Day (cover by Bec Lestrange)

Playing Covers of the song I'm already obsessed with, doesn't make it easier.

Love, Bec

Hypnotic - Zella Day (cover by Bec Lestrange)

borne

Middle Eastern vinyl samples are interesting to play with. The outcome is "Ididida". No one know what that means. 

For me this feels a bit like Mach-Hommy kind of beat. Raw and a bit messy. I just wanna leave it like that.

Ididida

About finding that one and only person but losing them tragically

Miles and Miles

Trolls in the Cloud

Tres

So Beastly

another mix of electronica beats & guitars=alt?rock

rockon2021

electrostratic#3

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.

Relative Theory - IV. The Hammers Of Pythagoras

Robert Paterson Composer

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