The Biographies of Solitude
Text by Irving Feldman
Written: 1990
Duration: 8'
Instrumentation: soprano, viola and cello
Text by Irving Feldman
Premiere: Composer’s Forum, Eastman School of Music, Kilbourn Hall, Rochester, NY, July 1, 1992.
For more information: https://robertpaterson.com/the-biographies-of-solitude

PROGRAM NOTE
When I was growing up in Buffalo, NY, my parents had a great collection poetry books. My father taught at the same university as Irving Feldman, and my parents had a few of his books of his poetry—some of them given as gifts from Feldman. The poem The Biographies of Solitude struck me as being a very good poem to set to music.

The Biographies of Solitude

TENEBRIS MERUS ANGELUS
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A self-taught composer, who has found his voice in older and traditional forms and styles of music.
Currently mostly composing for piano, but I have grand ambitions for writing chamber music and symphonies.
My music has a lot of variety in a way that expresses all kinds of sentiments, both intrapersonal and extrapersonal, kept in a cohesion by an underlying narrative; every composition is its own journey or a adventure, and I invite any guests who stumble upon my page to take part in it. 
All my music so far is written in Sibelius 7 (recordings of live performace coming down the line)
My music is available for purchase on Bandcamp: https://dinoljubi.bandcamp.com/music
Sometimes I might write an essay or two:
https://renewalcollective.substack.com/p/beethoven-through-suffering-towards
For inquiries: dinoljub89@gmail.com
Also a father to an awesome little boy.

Amateur pianist and composer, studying and practicing for 7 years, member of BMI - Broadcast Music Inc.
All these compositions are made in my free time, mainly inspired by my favorite books, films and TV shows (My inspiration also comes from my favorite composers). I prefer to compose solo piano tracks, but cinematic orchestra is my second favorite genre of music and I have practiced a lot in that genre. 
I'll probably post small, unreleased tracks here on SoundCloud
Thank you to everyone who takes the time to listen to my tracks!

sky_sensei_mccloud

https://m.youtube.com/playlist?list=OLAK5uy_kixZuKKtfSUifaBgPNFtH4GOnXJh1-LQg&si=tA3Q8taESqbQRxjE&fbclid=PAAab1lVp1y0S7LuQG-3I9k_QDWYRHEIoajcV4fyNO6BWRpkqCBvBplvn0L_g

Street pirates 

https://m.youtube.com/playlist?list=OLAK5uy_l5wzZL-m4IO6NXStLfYYjRRJNR7Geqy5I&si=00m13nEnWy_EJpDv&fbclid=PAZXh0bgNhZW0CMTEAAabgN1AkA8GkLGb7NMeUsYDPLrHMWkjLyusA0KxEHZJRD2mqx-cWo7TwtvE_aem_xKaovBM-9pHgzFHwwGSvGQ

hold up wait there's more 

https://youtube.com/playlist?list=OLAK5uy_kP2ucGQi-Om0Pf1vSY3myP1B3Yzewd3Ok&si=87VEh4JSOHQCLbsg

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
------------------------------------------
I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

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.

~*Creator of DreamTime*~

Producer // Graphic Artist

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The Biographies of Solitude

Robert Paterson Composer