This is a wondrous composition. Flighty? Cynical? Constantly changing centre of action? I believe it takes extremely talented musicians to read this type of score that changes almost instantly from legato to pizzicato with slurred phrases in between!!! Listening to it is just like you're watching a movie wih various characters interacting. Hats off to the composer. Hats off to the musicians. While listening to this I was wondering whether if when the composer started composing the first "x" bars of music whether he knew where it was going?? Purely speculative question because as a listener, it's like trying to predict how a room full of different characters may interact! I'll listen to the other parts to get a better understanding. In the meantime... wonderful composition.

This is great, congrats .... hearing a piano and violin sonata in my head which would probably also work well for this composition.

So solid and interesting throughout - love this.

Truly gifted players and composer. A real treat to the ear!

Awesome piece for Quartet. Vivacious and   always your great touch in them. Magnífico, great piece Robert!!

So wonderful beginning! I like this piece so much.

I really like the quirkiness in the strings in this piece. The techniques you're using are a lot of fun!

Zests of delicious Flamenco like rhythms at the beginning  :) Very interesting harmonies and a joyful concertation between the strings. I was hooked for the start to finish. This is a masterpiece of its genre.

a truly enjoyable piece of music, composition and performance are adoreable...and I think it quite funny, makes me smile...all these little pieces coming together...great work

Never Give up on Peace

As they sip the syrupy sauce of sorcery they quietly fall into apathy... Video on youTube https://www.youtube.com/watch?v=u6lKli1peOE&feature=youtu.be

Smelly Newscast

apathy

ABOUT THE ARIA
From Masquerade, the third act in a trio of operas called Three Way. Masquerade takes place at a lavish suburban home. It’s a swinglife party, where people from all walks of life pursue their wildest erotic dreams. Couples in masks and robes have paired off in twos and threes. In this aria, the conservative, middle-aged Larry thought he was going to have fun with two ladies, but had performance anxiety. He pours a drink and laments.

ABOUT THE OPERA
An Il trittico for the Tinder generation, Three Way is a new opera about the present and future of sex and love with music by Robert Paterson (The Whole Truth) and a libretto by David Cote (Blind Injustice). In three playful acts, average heroes explore the worlds of android lovers, BDSM and polyamory in a quest for “more” in today’s hyperconnected and gender-fluid world. Featuring Nashville Opera, conducted by Dean Williamson. Original cast recording.

CREATIVE TEAM
Robert Paterson, Composer: http://www.robertpaterson.com | http://www.robertpaterson.com/three-way
David Cote, Librettist: http://www.davidcote.com

THREE WAY SITES
Three Way Site: http://www.threewayopera.com/
Nashville Opera: http://www.nashvilleopera.org/three-way/
American Opera Projects (AOP): http://www.aopopera.org/threeway/

Materials available from Bill Holab Music: http://www.billholabmusic.com/threeway/
Three Way Arias - Male: http://www.billholabmusic.com/store/i...
Three Way Arias - Female: http://www.billholabmusic.com/store/i...
Three Way Piano/vocal score: http://www.billholabmusic.com/store/i...

ORIGINAL CAST
Danielle Pastin, Soprano: http://www.daniellepastin.com
Courtney Ruckman, Soprano: http://www.courtneyruckman.com
Eliza Bonet, Mezzo-Soprano: http://www.elizabonet.com
Melisa Bonetti, Mezzo-Soprano: http://www.melisabonettimezzo.com
Jordan Rutter, Countertenor: http://www.jordanrutter.com
Samuel Levine, Tenor: http://www.samuellevinetenor.com
Wes Mason, Baritone: http://www.wesmasonstage.com
Matthew Treviño, Bass: http://www.matthewtrevino.com

LYRICS
I’m angry with myself.
Well, just a part of myself—
The part that lies there like a shrunken lump.
I could take that magic pill,
But I’d rather use my will,
Not an artificial bump to end this slump.

Two of them, two of them, what more could you ask?
Two luscious ladies, eager and game.
That makes three of us, three of us, all in our masks,
The lighting is low, the cushions are deep,
It’s my favorite dream but I’m not asleep.
And Little Larry Junior’s not making a peep.
I guess it’s not my night.
Not my night. Not my night.

I’m beating up myself.
I should be nicer to myself.
I want to keep on playing in the game.
But despite my healthy hunger,
The other team is so much younger
And my pitching arm is feeling awful lame.
When did the wild man get so very tame?
Not my night! Not my night.

Three Way

Three Way - Act III. Masquerade: Larry’s Aria: Not My Night (Baritone Aria)

Written: 2018-19
Duration: ca. 25'
Commissioned by J.K. Billman
Premiere: Euclid Quartet, Mostly Modern Festival, Arthur Zankel Music Center, June 25, 2019
Publisher: Bill Holab Music: http://www.billholabmusic.com
For more info.: https://robertpaterson.com/string-quartet-no-2

PROGRAM NOTES
In some ways, String Quartet No. 2 is similar to my String Quartet No. 1: the five movements are stylistically diverse, I use a few snippets of pre-existing music, and the music, while idiomatic, is technically demanding. As with my first quartet, this work explores technical and aesthetic ideas I didn’t have a chance to explore in other works.

The first movement, Colored Fields, is inspired by abstract expressionist painters such as Mark Rothko, Kenneth Noland, and Barnett Newman, but also pointillist painters such as Georges Seurat and Paul Signac. There are textures that emerge and submerge using articulations that gradually shift from soft to loud, or short to long, and there are a few transitions that utilize a technique I call pitch phasing or phase modulation, as opposed to tempo phasing. In these transitions, two or more instruments gradually modulate (raise or lower) notes, motives, or phrases by gradual, very refined, microtonal, non-chromatic increments, settling on new pitch areas that directly reflect the previous areas, just modulated up or town. The movement ends softly with a virtual desaturation of the rhythmic material. I remove notes, one by one, until there’s nothing left.

The second movement, Rigor Mortis, is inspired by a comic strip by David Lynch that newspapers ran for many years. In this strip, Lynch sketched a stressed-out, pitch-black dog, looking very mean and almost buzzing with anger; it looked like it was about to explode. Every strip began with an accompanying paragraph that read, “The dog who is so angry he cannot move. He cannot eat. He cannot sleep. He can just barely growl. Bound so tightly with tension and anger, he approaches the state of rigor mortis.” This made me envision musicians playing with such ferocity and tension that the music seems to eventually cancel itself out, anger imploding in on itself.

The third movement, Dolente, is sad, lush, and mournful. The only request I had when writing this quartet was to incorporate a Norwegian fiddle tune or theme by Edvard Grieg, so I chose themes from Grieg’s String Quartet No. 1. The form of this movement mimics the form of a song by Edvard Grieg’s entitled Spillemaend (Minstrels, or Fiddlers). The poem that Grieg set in 1876 as the first of Six Ibsen Songs (Op. 25) is based on the Norwegian folktale of the fossegrim, a male water spirit who could teach the art of violin-playing, but often at the price of personal happiness. In some versions of the story, the poor violinist drowns in the end. Like the song, and echoing the second movement, this movement beginning with the protagonist’s longing, his desire for the beloved. Next, he encounters the fossegrim, who promises that becoming a master of music will allow the protagonist to become master of his beloved. In the final stanza, the protagonist becomes a master fiddler, but he is now a cursed, wandering musician deprived of earthly love, so he drowns himself.

The humorous fourth movement, Scherzando, capitalizes on effects that at times, often make the string players sound inebriated. I make use of copious glissandi and tempos that fluctuate between 3/4 and 6/8, giving a sense of unease.

The final movement, Collage, is similar to the first movement in that it is inspired by the visual arts, and specifically, collage painting and works by surrealists. Many themes from the first four movements are brought together in this odd-metered movement.

String Quartet No. 2 commissioned by J. K. Billman and is written for and dedicated to the Euclid Quartet.

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

String Quartet No. 2 - IV. Scherzando

Neves

MIGHTY FALL (el altar del dinero)

driving down the mountain, just to watch them crawl
mr. know-it-all, raised on backdoor’d nepotism, but dropped the ball
speeding through the city, just to catch that thrill
of the sucker's kill, he was superman-ambition, with no real skills 

-C H O R U S -

…and the Mighty Fall, 10,000 clowns and all
if you’re blind to your addictions, she’ll be that intervention now
it’s a Mighty Fall, one percent and all
if you need the inspiration, she’s a walking revelation now

-V E R S E-

flashing on the TV, with a smirking grin
mr. Walking Sin, he was tight-rope-contradictions
…and dead within
living in a bubble, is the modern way, oh but so cliché
to have all the education, but zero grace

-C H O R U S -

…and the Mighty Fall, jack-off saints and all
If you’re lacking the conviction, she’ll be a benediction now
and the Mighty Fall, trust fund perks and all
if you’re missing the compassion, she’ll tase your heart to action now

-B R I D G E –

billions and trillions and zillions of dollars, the altar of money, is it worth all the bother?
it owns you and tones you, you soon will be facing, a bottomless hunger that's certainly waiting for you…

-C H O R U S -

…and the Mighty Fall, country clubs and all
if you need a new sensation, she’s a walking revelation now
…and the Mighty Fall, wipe the prints and call
no one cares about distinctions when facing their extinction now

Mighty Fall (el altar del dinero)

This is the opening track from my debut EP called “The Dakota EP.” I wrote, sang and played all instruments on this album. Thank you for listening...My EP is on many streaming platforms, and can be downloaded on iTunes and Amazon Music as well which would be supremely appreciated! If you dig it please feel free to comment or repost...
Thank you! 🙏🏻✌🏻-Tim Trainer

The Dakota EP

I Want It Back

I Want It Back (original track)

We Will Never Be Here Again

A Lofi Miracle - EP

The Christmas Song

The Chrsitmas Song

POLARIZATION | J. Cole x Kendrick Lamar Type Beat

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POLARIZATION | J. Cole x Kendrick Lamar Type Beat

Lord I'm lying on the ground 
bleeding out, I hate the sound 
of people running bye
never got the chance to do all the things I wanted to
Lord looks like imma gonna die

Lord I'm lying on the ground 
I made my mark, made a sound
now I'm on my way
as cold as hell I think it is
my heart stopped pounding now my head is floating way up above

I'm gonna die
Looking down from the sky
I miss that body so 
I never wanted to...

Lord I'm lying in the tub 
fentanyl took out the rub
sink or swim you say to me my friends

I hate their love 
there's no peace in pain 
I think I'll take a pill again 
Lord I think I'll be fine 

Lord I lived and now I'm dead 
feeding tubes are pipes of lead 
and politicians running on again and again 
never took the chance to do 
all the things they had to do, lord looks like I've gone and died 

I've gone and died 
I know all the reasons why 
forget your bodies 
cause' we share the same soul 

Lord I'm kneeling in this cloud
I kissed your feet and told you how 
I saved a kitten from a tree 
How's I supposed to know 
you hated cats, that why you showed your name in a mirror to me 

I've gone and died 
Lord I knew why 
But I don't know why no more 
I've gone and died 
I know why 
But I find good
no peace in mind

Death to Old People

I'm Gonna Die

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.

String Quartet No. 2 - IV. Scherzando

Robert Paterson Composer

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