Music for Content Creators – DIRECT DOWNLOAD from SoundCloud!

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Track name: Lyric Grand Piano
Music by Michael Herter
Free Download: https://cutt.us/LyricGrandPiano
Video: https://www.youtube.com/watch?v=zesgA5s4KOo 

A simple romantic piano piece written to promote moods of passion, reflection and beauty. 
Very beautiful, delicate and lyrical, but at the same time very emotional music, which is ideal for movies, slideshows, background to and special events!

Fis-Dur; 4/4; 85 bpm

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Lyric Grand Piano

Cast Away

Bruce MacLeod: Composer, Guitar, Bass, Synths.
Jimmy Hobson: Drums

Scam Likely

The Book of Goddesses
For Flute, Harp, Percussion, and Optional Choreography
Commissioned by MAYA with funding from the  New York State Council on the Arts
Duration: 36'

Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1011

For More Information: https://robertpaterson.com/the-book-of-goddesses

PROGRAM NOTES
My initial inspiration for The Book of Goddesses, and the source of the title, is the beautiful, lavishly illustrated book of the same name by Kris Waldherr, a Brooklyn based author, illustrator, designer and cellist. Waldherr’s book contains descriptions and images of hundreds of female deities from around the world, some featured more prominently than others. Rather than focus on goddesses in one particular culture, I highlight a few that seem to evoke something musical, dance-related or sensual. The cultures, countries and continents I draw on for musical material and styles are India, China, Greece, Ireland, North America, Nigeria and Cuba.

The flute and harp parts in each movement are often inspired by similar instruments found in each culture. For example, the harp part in Xi Wang Mu is inspired by the Konghou, and ancient Chinese harp, and the solo bass flute movement, Estanatlehi, is inspired by the sound of a Native American flute. Percussion instruments provide an earthiness, at least with regard to timbre, and each of the trio movements uses instruments that are not common in Western music, including an Indian Gatam, a Middle-Eastern Dumbek, an Afro-Cuban Cajón and the Udu drum, an instrument traditionally played by Nigerian women.

In order to achieve the right feel for each movement, I use non-Western scales, rhythms and other elements, and I occasionally appropriate patterns and other material from pre-existing music. My goal is to merge some of the qualities of traditional music with my own sensibility, and then filter it through flute, harp and percussion.

Many goddesses are associated with dance, certain colors or creativity in general, and with that in mind, I imagine The Book of Goddesses being performed live with choreographed dance. It may be presented in its entirety, although subsets—such as all of the movements for flute and harp—or single movements may also be extracted and performed.

The Book of Goddesses was commissioned by MAYA with funding provided by the New York State Council on The Arts.

The Book of Goddesses

The Book Of Goddesses - VIII. Yemaya (for Alto Flute and Cajón)

The Lord is My Shepherd - Psalm 23
Responsorial Psalm

Cor Unum Artists
Paul Jernberg, Composer and Conductor
Cantor: Rachel Garrepy

Recorded at St. John the Evangelist Church
Clinton, Massachusetts
June 23, 2025

Audio engineer: Joel Conrad

The Lord is My Shepherd - Psalm 23

Remake

Remove your clock,
so that we have some more hours to find out,
how we feel,
right here, right now, right now, right here…

Remake yourself today,
no regrets, just recreate.
Release yourself right now
feel like it makes you heal your wounds.

Pretend like we could close our ears
to stop all the noise,
to hear ourselves again,
right here, right now, right now, right here…

Goodbye to all the options.
Goodbye to all the almosts.
Goodbye to back and forward
and welcome to here and now.

Rejoin your heart again.
Cause look, it still remains.
Stop it and don´t restrain, right here, right now, right now, right here…

New Country

Remake (Acoustic Version)

Duration: 13'
Instrumentation: for trumpet, violin, cello, piano, marimba (six-mallets), percussion, harp and banjo
For more information: https://robertpaterson.com/journey-into-courage-film-score/suite

PROGRAM NOTES
Journey into Courage is a documentary directed by Bess O'Brien about domestic violence in rural Vermont. It was originally a touring stage production with a cast of women from rural Vermont who were victims of domestic violence. The documentary is largely made up of footage shot during the tour as well as interviews of the women in the stage production.

Journey into Courage Suite is derived from the soundtrack for the documentary and is intended to be performed on stage as a suite for eight musicians. The performing ensemble can choose which versions (if there are multiple ones) of each piece it will perform. The short version, e.g. without repeats, may be performed if a shorter suite is desired.

Journey into Courage - 7. Finale, Part II

The Essence of Gravity - for Mixed SATB Choir
Duration: 18’
Commissioned by Robert Geary and the Volti choir of San Francisco
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=902
For More Information: https://robertpaterson.com/the-essence-of-gravity

PROGRAM NOTE
In The Essence of Gravity, I use a few key words, phrases and phonetic sounds rather than an elaborate text. Since there are so few words, I designed the text myself, and it is made up almost entirely of onomatopoeia words. The word ‘gravity’ in the title not only refers to the force of attraction by which objects tend to fall toward the center of the Earth, but also to a sense of seriousness. Each movement reflects one or both of these definitions.

The first movement, Echoes of War, contains words and phrases that make me think of war. A type of weapon called a “gravity bomb” also inspired me. This weapon is delivered by aircraft and does not contain a guidance system; it follows a ballistic trajectory. Until the later half of World War II this described all aircraft bombs, and the vast majority until the late 1980s.

The second movement is entitled Love and Kisses. Although love is an undeniably heavy subject, this movement is intended to be much more playful than serious. Perhaps it is more about the emotional pull that people have on each other.

Before I composed the third movement, Infinite Oceans, I walked along San Francisco’s Baker Beach and Lands End. Although I’ve been to the ocean many times, I am always struck by the seemingly infinite-sounding tides and lonely-sounding foghorns I often hear in the distance. This movement is inspired by the gravitational pull of the moon, the primary force responsible for the ocean’s tides. This movement also alludes to the stories of the mythological Greek Sirens that lured sailors to their deaths with their beautiful singing.

Although many people might not think of machines as evoking a sense of gravity, they seem important in ways that may not be readily apparent. Without machines such as the Space Shuttle, we would not be able to explore outer space. For better or worse, they are integral to our modern way of life. In this sense, the fourth movement, Machines, pays homage to the machines that enrich our lives by allowing us to defy gravity.

Eternal Reflections

The Essence of Gravity - III. Infinite Oceans

A song about the feeling of going in never-ending circles like a broken record

LYRICS:

The colors fade into grey at the close of the day
You’re calling, for what you can’t say
You’re falling away

You stumble through the town
The voices are loud
You’re humbled by the sound that echoes around

This old refrain
Dirty words sung again
It stains my days with the shame of the time we lost playing games

The colours fade in from grey at the turn of the day
We throw ourselves in the fray to keep the boredom at bay

This old refrain

The words you shout carve grooves throughout your brain
And anger twists itself inside your grain
It's why we’re here time and time again
Singing this tired old refrain

This Old Refrain

The second track of our acoustic project. Becomes less acoustic towards the end!

LYRICS:

Walking on coals to keep your feet warm
Burning the soles and changing your form
The end never comes ‘til your fingers and thumbs are bleeding and raw and your spirit is torn

Fighting the cold and working the land
It’s taking its toll when you’re sowing in sand
Kneel down in the field and accept that you yield to the futile battles you wage with the shield in your hand

We’ll find you where you fell and we can bring you around
We’ll hide you so that no one can tell and you can never be found
You can sleep for a thousand years because we won’t make a sound

Won't Make A Sound

When I was little if my mother described someone getting agitated or angry she would say they 'played pop'... but if they were really angry, especially righteously angry, then they 'raised holy war'... it's not what the song is about, but it explains why it's in my vocabulary.

HOLY WAR

I keep looking for you
In this holy war
But holy wars
Never end

I'm still gunning for you
No matter what the cause
And no matter the cost 
It's all I defend 

And I
Will go anywhere 
Just to fight with you 
On that field again 
Again and again 
Again and again 
Again and again 

I will race you
To the top
I'll make sure we
Never stop
I will never
Hold you
Up Again
Up again
Up high...

I'm looking for you
In this great expanse
Where the field of view
Just Never ends 

I'm running for you
I'm stealing every chance
Oblivious to
The bitter end

Cos I
Will do anything 
Just to run with you 
Through those fields again 
Again and again 
Again and again 
Again and again 

I will race you
To the top
I'll make sure we
Never stop
I will never
Hold you
Up Again
Up again
Up high...

I keep looking for you
In this holy war of ours
May this holy war
Never end...

Holy War

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.

The Essence of Gravity - III. Infinite Oceans

Robert Paterson Composer