TRACK DESCRIPTION:
Have you ever felt trapped in a state of insecurity that could only be solved by a night out? You're not alone, a boy drummer finds himself at a party re-learning what it means to live life and stuff :0

My Links :)
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BEAT CREATED AND PRODUCED BY:
-Beats By Mantra
https://mantra.beatstars.com/
VOCALS MIXED AND MASTERED BY:
-DownUpMusic
https://www.downupmusic.com/
Written and Sung By Melancholy Happiness
SONG WRITTEN AND SUNG BY:
-Melancholy Happiness
ALBUM ART BY:
-Melancholy Happiness :)

CONTACT:
melancholyhappiness2001@gmail.com

LYRICS:
~ Verse ~
Where the rain lies there’s a cloud (yeah) •
A silver lining hiding in a crowd (yeah) •
Curiosity filling your lungs •
A wonder burning like, like the suns •
A whole world left to explore •
Never ending stories right outside the door •
(Come on ) built upon by life’s chapters •
Look beyond those motherf*cking disasters •

~ Chorus ~
A boy drummer in the middle of a party, a drink in one hand and his heart in the other (yeah) •
He was afraid they’d catch him when his mind’s lost•
In the vastness of space •
A boy drummer woke up like morning coffee, in sync and he began to see color •
Hello once again the feeling of... •
The feeling of summer, summer •

~ Verse 2 ~
Embrace for the journey set ahead •
Kindle a feeling that isn’t dead •
For the cosmos may leave you in awe •
There’s a painting waiting for you to draw •
But isn’t, isn’t life so strange and mysterious •
Open your mind and be more curious •
Feel that nostalgia hit •
Travel back to when we were kids •

~ Bridge ~
When we were kids x3 •
So young, so dumb x2  •
So young, so dumb  •

~ Chorus ~
A boy drummer in the middle of a party, a drink in one hand and his heart in the other •
He was afraid they’d catch him when his mind is lost in the vastness of space •
A boy drummer woke up like morning coffee, in sync and he began to see color •
Hello once again the feeling of summer, summer •

~ Verse 3 ~
The feeling of summer •
Are you ready for the feeling of summer
Once only an up and comer •
Shades of winter cover the sunrise •
Throw out monotone colors you recognize •
Sooner or later you’ll identify paradise •
Just keep your head in the skies • 
Those who anchor you down you can just cut ties • 
Aim for that all time high • 
Ain’t talking weed but we got some for the night •

~ Bridge 2 ~
Una Nena tan bonita •
Angels vienen y vistan •
Me gara la mano y me invita a la fiesta •
Pero Ay como me excita a mi •
Tienes mis emociones como un tsunami •
Over flow, naci con flow baby •

~ Chorus ~
A boy drummer in the middle of a party, a drink in one hand and his heart in the other •
He was afraid they’d catch him when his mind is lost in the vastness of space •
A boy drummer woke up like morning coffee, in sync and he began to see color •
Hello once again the feeling of summer, summer •

#MelancholyHappiness​ #TheFeelingOfSummer

THE feeling OF summer

THE feeling OF summer (Prod. Mantra)

Mood - Strange1 x Tschenis x Bambeat

This is my last track of 2020. I would like to wish you good luck in the coming year if you are reading and listening to my song, left behind what hurts you in life for a new beginning. Big hug may the force be with you!
Adro The Toxic Waste

Joulupukki

​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 - II. Playfully Seductive

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 - I. Adagio, Allegro Con Uno Trotto, Adagio

Sonata No. 1 for Violin and Piano - I. Adagio – allegro con uno trotto – adagio

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)

So I'm a big fan of The Mandalorian and I really loved Ming-Na Wen's character 'Fennec Shand', but I noticed that she didn't have her own theme song...so I made one! I took some elements of the official Mandalorian main theme and composed this theme song as a tribute to Fennec's character and the awesome actress Ming-Na Wen as well. Hope you like it!

Fennec Shand Unofficial Theme Song | "Desert Assassin"

#micahthunder #thundertribe #visualizer

Official Single "Here I Am" by Micah Thunder. Produced by @Edgar Wonder 
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Lyrics:
Do not live for tomorrow
Today is gone
Dead and gone
My soul lingers on

Searching for a reason
why the days will pass
good times will not last
life goes by so fast

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends

I’m searching
For purpose
Can’t find my way
Don’t know if I’m worth it

It’s so dark
I’m so tired
Searching for a spark of life


Don’t Worry
You’re Perfect
Coming up so fast
It makes me nervous

Let’s dance
let’s smile
a miracle is worth my time

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends
 
how this grows
how this goes
How it ends

I can be your man
I’ll do all I can
help me understand 
give you all I am
You can be my woman
Help you grow
Show me what lovers know
You won’t walk alone

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends

© 2021, Micah Thunder, All Rights Reserved

HOW IT ENDS - MICAH THUNDER

Shadows

Late Night Or Early Morning - 2:23:21, 4.16 AM

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.

Stealing Thunder (for Percussion Sextet and Recording)

Robert Paterson Composer