Listen to the song with vocals: https://distrokid.com/hyperfollow/stephenspiesandvioletcomer/who-do-we-turn-into

Edit of SiR's original, "The Bullet and The Gun", off of his EP "Seven Sundays".

Photo by @alxchn.
instagram.com/alxchn

FREE D/L

SiR - The Bullet and The Gun (HMLT Edit)

Niall Ferguson, cello
Thomas Feng, piano

17 November 2014

2015 ASCAP Morton Gould Award Finalist

recording courtesy of Umberto Belfiore

A Flame Out Of Focus (2014)

Song 8 - Twin Flame v4  FEAT. Coryell (Rough)

Tina (Hilda) Traboulsi
114103907
8 December 2014
MIDI and Audio
MU2021

My piece, "A Slice of Pi," is inspired by the first 80 digits of pi and Carl Sagan's quote about apple pie. The notes are played in the key of C and I have assigned the notes as follows: 1=C, 2=D, 3=E, 4=F, 5=G, 6=A, 7=B, 8=C 9 0=Rest. 

Length of piece: 4:36

A MIDI track, which:

1) Demonstrates ability with MIDI editing
	Copy and paste Instrument Track 02 from Reason

2) Demonstrates use of MIDI quantization
	Quantized Instrument Track 01 and Instrument Track 02

3) Uses VST instruments and/of Reason instruments
	Used reason instruments: Malstrom
	Instrument Track 01 ["Malstrom 1" in Reason] - Sound on Sound
	Instrument Track 02 ["Malstrom 2" in Reason]- VelocitySines

4) Contains at least one passage where you have made use of automation to manipulate the sound of a VST/Reason instrument
	Instrument Track 02 [Malstrom 2] - automation (played with the oscillation B shift of the sine wave)

An Audio track, which:

1) Demonstrates ability to record a sound with a microphone
	recorded Maggie Oreo, chewey, bass beat 1, bass beat 2, snap clap, Trail Mix, whistle, violin 1, violin 2, and bass pluck

2) Demonstrates ability with simple audio editing
	cut and paste most of recorded audio

3) Demonstrates ability with low-level audio treatment
	time stretched "pi-fast-tts" and "pi-slow-tts"

4) Demonstrates ability using simple effects
	reverb on bass beat 1, bass beat 2, snap clap, whistle, violin 1

5) Demonstrates Automation
	panning on pi-fast-tts, pi-slow-tts, and pi- tts

6) Demonstrates how sound is sent to the group track
	Violin group
	pi-tts-group

7) Demonstrates using the channel send, for a global effect
	pi-tts-group:  reverb and pitch correct
	

At least one Group Track, which:

1) Contains an effect
	pi-tts-group: reverb and pitch correct

2) Demonstrates Automation to creatively manipulate the global effect.
	Violin Group: Violin 1 copy and Violin 2 (volume automation)

----------------------------------------------------------------------------------------------------------------------------------------------------------------------------

pi-fast-tts
	Standard Panning - Automation
	fade out

pi-slow-tts
	standard panning- automation
	fade out

pi-tts
	standard panning- automation
	fade out

Carl Sagan
	roomworks- reverb

Maggie Oreo
	audio mic recording with Edirol (Maggie: chewing oreos)
	fade in / fade out

chewey
	audio mic recording with Edirol (Me: chewing oreos)
	volume automation
	fade in / fade out

bass beat 1
	audio mic recording (cello)
	room works - reverb
	fade out
	cut and paste

bass beat 2
	audio mic recording (cello)
	room works - reverb
	fade out
	cut and paste

snap clap
	audio mic recording (chest-snap-clap-chest-chest-snap-clap-snap)
	room works- reverb
	fade out
	cut and paste

snap clap fx
	distortion
	fade out
	cut and paste

Trail Mix
	audio mic recording (shaking trail mix bag)

whistle
	audio mic recording (whisteling)
	room works - reverb
	cut and paste

violin 1
	audo mic recording (Stephen Spies playing first 80 digits of pi. half notes)
	room works - reverb
	fade out

bass pluck
	room works -reverb

bass copy
	audio mic recording (Stephen Spies Percussion)
	volume automation

violin 1 copy
	audio mic recording (Stephen Spies playing first 80 digits of pi. half notes)
	volume automation (group track)

violin 2
	audio mic recording (Stephen Spies playing first 80 digits of pi free style)
	volume automation (group track)

Instrument Track 01 [Malstrom 1]
	played digits of pi on keyboard

Instrument Track 02 [Malstrom 2]
	played digits of pi on keyboard
	automation (played with the oscillation b shift of the sine wave)
	copy and paste

group track
	violin group
	pi-tts-group

channel send
	pi-tts-group: reverb and pitch correct

A Slice Of Apple Pi

UCLA Schoenberg Music Building, Jan Popper Theater
25th Feb 2015
Copyright (c) 2015
~~~~~~~~~~~~~~~
Conductor – Young Hae Kim
Flute – Kangyi Zhang
Clarinet - Jiwoo Park 
Oboe - Joey Galasso 
French Horn – Sunghyan Lee 
Violins - Helen Rowe and Stephen Spies
Viola - Edward Ryan 
Cello - Jasmine Lau
~~~~~~~~~~~~~~~~~
"The Liancourt Rocks" was written for a conducting friend, Young Hae Kim, as part of her doctoral degree requirements. The Liancourt Rocks (Dokdo 독도 or Takeshima たけしま) are a group of islets claimed by both Japan and South Korea. The strained ties caused by wartime history has furthered fueled the dispute and elicited impassioned responses from citizens of both countries. 

Two Korean and two Japanese melodies were used in the construction of the piece. Arirang (아리랑), Dokdo Song (독도는 우리땅), Song of the Seashore (浜辺の歌 Hamabe no Uta) and The Sea in Spring (春の海 Haru no Umi). Throughout the entire piece, the themes and melodic fragments are all derived from these four songs.

1. Tranquil waters
Contemporary techniques of various instruments are used to depict wind and bird sounds amidst a serene landscape.

2. Deadly currents and torrential rain
Due to the location and the small size of the islands, the Liancourt Rocks can present unpredictable and harsh weather. Themes and melodic fragments make abrupt entrances and intervallic tension is also employed.

3. Reconciliation (Calm after the Storm)
The Korean and Japanese themes are presented fully for the first time. Both melodies reconcile by forming a counterpoint.

While writing this piece, I was conscious of the seating arrangements of the players and hence the positions of sound production. The constantly changing interaction of the players is the focus of the piece. The french horn has a very special role as an observer and peacekeeper. Musicians 'compete' for dominance in front of the french horn.

I would like to thank Prof Ian Krouse for his guidance throughout the composition process.

The Liancourt Rocks (Dokdo 독도 or Takeshima 竹島 たけしま) by Kangyi Zhang

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Hey, my name is Stephen Spies. Feel free to take a listen to my work!

Email: sasviolin@gmail.com

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