6026 The open answer

Soon to be released Dying Stage album. Updated: 10/24/2021

June 23, 2017

The Dying Stage

A cinematic soundscape created to build up for a climactic scene of a campaign.

Part of the debut EP Tabula Rasa:
https://swiftredvox.bandcamp.com/album/tabula-rasa

Requiem

Echos Of Your Hart

Nobody Got Hurt  

It may be the right thing
I am sure it is smart
But why does it feel
Like I am falling apart

I just sit and wait
Keep checking my screen
What we did, what we shared
Can't be undone or even unseen

Am not sure what hit me
You were one of a kind
I still somehow hope
You will change your mind

Our minds are alike
Our spirits blend well
We've already talked for hours
And there's still more to tell


Nobody knows. Nobody got hurt.
But I still see you. You're wearing my shirt.
Just move along. Embrace all of life.
I'll keep pretending. I'm loving my wife.


You said we had to end it
Before any damage was done
And maybe that is true
It sucks now you're gone

No accidental encounters
No more stories to tell
No more CD's to discuss
This will hurt like hell


Nobody knows. Nobody got hurt.
But I still see you. You're wearing my shirt.
Just move along. Embrace all of life.
I'll keep pretending. I'm loving my wife.

Nobody Got Hurt

I Wanna Be Used

electric Age

Originally recorded on a FOSTEX 4 track Cassette recorder, this is a remake of sorts with just me kinda messing around to see what comes out... either way, its a cool tune with a wiked awesome groove... If you dont do anything else skip to the breakdown in the middle...

Its Not Over ( Control )

SEE ME (prod.RYINI BEATS)

Written: 2016
Duration: 5'
Instrumentation: soprano, baritone and piano
Lyrics by Mark Campbell
Commissioned by the Five Boroughs Music Festival for the Five Borough Songbook, Volume II
World Premiere: Five Boroughs Music Festival, DiMenna Center for Classical Music/Baryshnikov Arts Center, Jerome Robbins Theater, New York, NY, Marnie Breckenridge, Soprano, Sidney Outlaw, baritone, Jocelyn Dueck, piano, February 11, 2017.
Publisher: Bill Holab Music

View Score: https://issuu.com/robertpaterson/docs/paterson_crossing_the_hudson__score

Buy Sheet Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=2698

For More Information: https://robertpaterson.com/crossing-the-hudson

PROGRAM NOTES
When setting text to music, it is very fulfilling to have an opportunity to work with living writers, and especially a great writer such as Mark Campbell, one of America’s most celebrated librettists. The mission of the Five Borough Songbook project is to have composers and text writers create short pieces that are about New York City, so we decided to create a song entitled Crossing The Hudson about two people who cross each other on different Staten Island Ferries.

Crossing The Hudson was commissioned by the Five Boroughs Music Festival for the Five Borough Songbook, Volume II.

Crossing The Hudson

Sun Trio for Violin, Cello and Piano
Duration: ca. 35'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=908
For More Info: http://robertpaterson.com/sun-trio

PROGRAM NOTE
Sun Trio originated when I first started the film score for a documentary entitled Journey Into Courage. After writing opening music to the film, director Bess O’Brien and I concluded that it was best to change some parts in order to properly compliment the film. The theme was kept, but some of the other sections were changed and/or edited. I never discarded the original sketches, even though much of it remained on the cutting room floor. Thankfully, it came to good use later in this work.

The first movement, Sun Day, begins with the theme from the Journey Into Courage introduction. This movement is meant to evoke the feelings you get when summer, mid-day sunbeams appear from between the clouds and warm your skin.

Sunset, the second movement, was inspired by Lake Champlain in Burlington, Vermont and my wife Victoria. I envisioned us embraced, doing a Tango–like dance under a multi–colored sunset—at times, to themes from Stravinsky’s L’Histoire du soldat. Victoria is a much better dancer than I, and in this movement, she teaches me the steps. I fumble around and finally get it right, and then the sun sets.

The third movement, Absence of Sun, is connected from beginning to end by one long melodic line. The cello melody is modeled after a classical Indian Sitar raga, specifically the traditional, slow introductory section of a classical Indian composition. The bass piano part supplies the drone while a high-pitched tone row supplies a "starry night" texture. This texture gradually melds into a wind chime accompaniment. The movement peaks in the middle with an intense cello line. At this point, the violin intervallically supports the cello line. Each instrument—and in the case of the piano, each stave—represents a specific, individual texture. This movement intended to sound somewhat improvised.

Sunrise, is meant to evoke the feeling you get when watching the sun rise. There is a "Sun" peak of an octave, a bright yellow ‘E’, symbolizing the first, intense, bright sunbeam peaking over the horizon. In the middle of the movement, a string of rising chords mimics a "fast-forward" of the sun rising in the sky. Later in the movement, the violin and cello play decelerated bird motives. I wrote the bird songs down on the morning of April 17, 1995, while watching the sun rise behind the University of Vermont music building. I use the "mystic chord" by Alexander Skryabin as melodic and chordal material for the anticipation of the rising of the sun. While I was waiting for the sun to rise, I watched the mountains intensely. I finally was about to give up, thinking that the sun tricked me and rose behind some clouds when I wasn’t looking. As soon as I turned around to walk away, I felt an intense heat hit the back of my neck. I turned around and there it was! The sun was there, in all of its glory and splendor, lighting up the mountains. As well as evoking a sunrise, this movement also uses themes from the previous three movements.

The sprightly Sun Dance is a closure movement written to provide a vibrant contrast to the other four. The initial piano motive is taken from Five Movements for string quartet by Anton Webern. The first section introduces the themes, motives and patterns which are then used in subsequent sections. The second and fourth sections are percussive, while the third section is more placid and melodic. The finale is hard and driving, utilizing both snap pizzicati (plucking the string so it bounces against the fingerboard) and loud four-note chords in the strings.

Sun Trio was commissioned by Dennis O’Brien to commemorate the 98th birthday.

Spheres

Sun Trio - I. Sun Day

Sun Trio - Mvt. I. Sun Day

Experimental artist covering everything from videogame music to cinematic soundscapes

Requiem

SwiftRedVox