A Very jubilante beginning! But it doesn't allow one to get too used to the feeling as we begin to hear more discordant elements. Some great writing again Robert

Very nice, clever rhythms and meters. Quite a fun piece.

This is great, great music for real, I have a weakness for high quality contemporary classic

Always fun to include violins, nice compositions

It's quirky. I also dig the use of polytonality here.

GREAT PIECE! and the recording is very well done, it was recorded in a studio?

Energetic and very entertaining. Beautiful.

Great work, harmony, rhythm and melodies are all very pleasant.

Great use of rests 🔥🔥🔥😎😎😎🤘🤘🤘

Poem No.10 'Obscura'

I can not thank you enough, dearest Yayoi Kusama

CITY       CODE       7       0         7

Sonata No. 1 for Violin and Piano
Duration: 20'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1107
Online Perusal Score: https://issuu.com/robertpaterson/docs/sonata.i-vln.pno.-fs-bound-perusal
For More Information: https://robertpaterson.com/sonata-no-1-for-violin-and-piano

PROGRAM NOTE (SHORT VERSION FOR PROGRAMS)
The first movement, Adagio – allegro con uno trotto – adagio begins and ends in a somewhat Romantic style, but with a twist: the end of the movement sounds like a record scratch, as if what you just heard is a track from an old vinyl LP. I became fascinated with the sound of record scratches when I noticed them in many commercials, although this is somewhat ironic since no one really plays records anymore.

The imaginary title of the second movement, Schizando (derived from ‘schizophrenia’) is a word I came up with to describe a musical style centered on fast, abrupt changes. This movement also reveals an obsession with sequences: sequence-like chord patterns decay by gradually becoming more dissonant as they evolve. These sequential sections alternate with “siesta daydream” sections, akin to channel surfing with a remote control. I was recently on the road for two months with my wife Victoria while she was touring, so on a personal level, traveling on the road to a different hotel every week probably influenced how I wrote this movement. We were never in the same place for very long and many of the hotels looked the same. Our lives were not that dramatic. I started craving drama, particularly in the music I listened to, and this probably spilled over into how I wrote this movement.

The third movement, Largo is slow and broad and inspired by the phrase "the weight of the past." There are time markers that delineate certain sections, reminiscent of the ticking of a clock. There are a number of composers whose works influenced me in this movement, such as the later works of Arvo Pärt and the slow movements of some of Beethoven’s sonatas. I was also pre-occupied with wanting to write a movement that contained mostly “open” notes, i.e. half notes, whole notes and double whole notes.

My main influences for the last movement, Allegro con moto are the early formal ideas of Igor Stravinsky, folk-style fiddle playing and jazz. There are a few false starts when piano chords come crashing down and a few somewhat humorous sections. Many of the themes from the previous three movements reappear in this movement.

As with many of my earlier works, my goal was to create a four-movement work in which all of the movements are quite different from each other. In a sense, I view this multi-stylistic approach as the result of wanting to embrace a variety of tools. As a result, as I wrote this I did not have an allegiance to any one particular style, as each one hopefully elicits a certain, distinctive emotional response.

Joy: Music for Violin and Piano

Sonata No. 1 for Violin and Piano - IV. Allegro Con Moto

Sonata No. 1 for Violin and Piano - IV. Allegro con moto

Stealing Thunder for Percussion Sextet
Duration: 9'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1234
For More Information: https://robertpaterson.com/stealing-thunder

PROGRAM NOTES
Although percussionists are often called upon to mimic the sounds of nature with their instruments, I think that nature, without question, provides the most exciting percussive sounds. In Stealing Thunder, I attempt to honor Mother Nature by appropriating (or stealing) recorded sounds of thunder and integrating them into the work. Each percussionist plays unique solo lines and motives. As the work progresses, the players take motives from one another and modify them. In effect, they are stealing each other’s thunder. The name "Stealing Thunder" is derived from the expression "to steal someone’s thunder," an expression that means to hinder or thwart someone.

In an abstract sense, this work is inspired by the great drum solos and styles of Gene Krupa, Buddy Rich, Tito Puente, Neil Peart and Billy Cobham. This work is also influenced by rudimentary drumming (i.e. "marching drumlines") and percussion technique books I used when I was younger, such as George Stone’s Accents and Rebounds.

Video with whole work: http://youtu.be/CscZ62yU72g

Stealing Thunder (for Percussion Sextet and Recording)

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Bright Flowers

Bright Flowers(Original Mix)

Written; produced; engineered by TEYP DOG

STCO

Chop Suey’ed! ($ampleGawd '$ystem Of A Down' Flip)

what if the mountains fall? what if they just fell? what’s next. (Made this in my bedroom with my big brother) hope you enjoy 🖤

what if the world ends? (bedroom studio version)

Lyrics 

V1 

Escapes been found, the exits near 
air smells of a dark atmosphere 
Hunter turned to prey, tables turned around 
Time to head back underground 

V2 

dark outside , things don’t feel right 
Uncertainty prevailing, holding tight 
worry turns to panic, stars shining bright 
I didn’t think theyd find me tonight 

A slither of light, morning sunrise 
Clinging to a hope, burning inside 
Joy turned despair, blink of an eye 


Chorus 2 

Run........... 
Run get out of here go 

They’re coming for you now

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.

Sonata No. 1 for Violin and Piano - IV. Allegro con moto

Robert Paterson Composer

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