3rd movement of my New Trumpet Sonata for Piano, String Quintet, and soloist

The Choral Trumpet Sonata - 3rd movement

First movement of the Sonata in D min for Trumpet, Piano and String Quintet.

The Choral Trumpet Sonata in Dmin 1st mov

Cast of Characters:
one man verity show – @one-man-verity-show – Scotty – melodic guitar, lyrics, vocals
cgmaness-- @user-419254289-15129531 – Chris – guitar intro
J.J. Terrell– @j-j-terrell –electric piano, synth  
TexMex Shaman– @texmex-shaman –Stephen – guitar solo and e-bow guitar
K2 and the Three [and the Four]-- @k2andthe3, @k2-kara –Ken–drums
Llanpsych– @llanpsych –Tez– textural guitar, mix, and production
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –five-string fretless bass guitar, original seed
The Eclectic Collective – composition

This song began with me coming up with the fonky-ass bass line and sharing it with everyone else. First up to bat was Ken, of course, who really matched the idea I had for the bass perfectly and gave it some flavor, too. Once we had a rhythm section solidified, Tez jumped in with the Kruangbin inspired arpeggios, and really gave the whole thing the flavor that it ended up with. Scotty followed soon after with his melodic/rhythmic leads that match his awesome vocal melodies. Next up was Stephen, who laid in the fiery solo towards the end, as well as some really trippy e-bowed guitar throughout. Then JJ came along and lit it up with his electric piano and synth. Finally, Chris came forward and added the distinct, exciting guitar intro. 
  Of course, we needed someone to produce and mix it, so we asked Tez to handle this one, which he did with his usual high wizardly magic. It is very gratifying to all of us to have Chris back in the mix on this one, as well as some upcoming releases, as well. This was the first time any of us has collaborated with Scotty, and we are thrilled that we finally got a chance. He's a creative, driven, and very agreeable musical partner, who's willing to work with us until we all get it right. We all hope this is just the first of many with him involved. We hope you enjoy listening to this as much as we enjoyed making it. 

Original lyrics by Scotty:

Can't obtain no fucking mortgage. 
And I can't pay no fucking rent.
I would rather you probe me 
than get fucked by our government
who attempts to control me 
and put nonsense in my head.
Who would rather see me
livin' in debt or end up dead.
Come and take me away.
Beam me into space.
Fly me to a planet
where there exists no hate or greed.

Take me to Utopia.
Teach me all your ways.
Save me from dystopia.
It's time to turn the page.
Something better must exist
out there beyond the stars,
where everyone can love and live,
unlike what's become of ours.

Utopia (Eclectic Collective with One Man Verity Show)

Cast of Characters:
Steve's Planet-- @steve-vervaet —Steve—acoustic guitar, vocals, lyrics, composition/arrangement

TexMex Shaman– @texmex-shaman –Stephen–electric guitar, production, and mix

J.J. Terrell-- @j-j-terrell—JJ—organ and piano

K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken–drums and rhythm guitar

cgmaness-- @user-419254289-15129531 – Chris -- electric guitar

Llanpsych– @llanpsych –Tez–electric guitar 

Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 – five string fretless bass 

This song was written by Steve on the acoustic guitar. He passed it along to Ken, who added a sturdy rhythm guitar, as well as his always solid, dynamic drums to it. In short order, Ken got the rest of the Eclectic Collective together on it, starting with Josh, who added his five string fretless bass to complete the rhythm section. Next up was JJ, who's keys, both organ and piano, can be heard livening the whole thing up. Then came Tez with his fiery ripping guitar fills. 

  We were all blown away, though, when Stephen added his equally ripping guitar fills as responses to Tez's parts. It really sounds like the two maestros are having a conversation. Not to be outdone, Chris sprinkled some of his magical guitar to fill in the spaces, mostly at the beginning. 

  Of course, we needed a competent producer to pull the whole thing together for us, especially with all the different voices in the stew. That person was Stephen, who was able to wrangle all of us and make it sound coherent, like the expert producer he is. 

  We all really enjoy working on Steve's songs, although it's been a few months since we did one together.  It's been proven many times before that if,you start out with something good, and you end up with some thing great. We hope you enjoy listening to this as much as we enjoyed making it.

Original lyrics by Steve Vervaet:

I hope we ever meet x2
I hope to see you again
I hope to see you smile

I hope to be your friend x2
Hand in hand, hand in hand
Once again x3

I hope you shake my hand
On the boulevard
Gazing at the stars, gazing at the stars
I hope you ever be, a part of family

A comfort zone for me x2

To be around in everything I found
Please, please love me, forever being around
Hope you ever be, a part of me
Hope to touch your eyes, I hope to touch your love
One day you’ll see that you belong with me

Hope We Ever Meet  (Eclectic Collective with Steves Planet)

Cast of Characters:
~Mark F-- @mark_fosella -- bass guitar, composition

Llanpsych -- @llanpsych -- Tez – guitar

cgmaness-- @user-419254289-15129531 – Chris – guitar

TexMex Shaman–@texmex-shaman –Stephen–  production, and mix

J.J. Terrell–@j-j-terrell –electric piano, organ, and synth

K2 and the Three [and the Four]--@k2andthe3, @k2-kara -–Ken–drums

Entheogenic Psychonaught (Josh Clary)–@josh-clary-1 –-electric madolin

This song originated with Mark creating a bass line to a metronome, and sharing it with Ken. Ken immediately added his driving drums, and invited the rest of the EC to join in. JJ was first up, laying in his foundational organ, and e. piano magic in the first half, and the cosmic synth melody in the second part. Batting second was me, who established the melody in the first half with my electric mandolin, and mirrored the melody in the second half with the same. Next came Tez, who laid in the funky guitar right after the first break, all the way to the end. Batting clean up was Chris, who laid in the psych guitar in the first section, as well as the high guitar part in the second movement. Of course, we needed an expert producer to mix this for us, so we turned to Stephen, who always gets it exactly to everyone's specifications. That in and of itself is quite a skill, and I don't know how he does it, but everyone is always satisfied with his work.
  This is the second song we've done with Mark, who is a tremendously talented bass player, and delightfully creative songwriter. If you aren't familiar with his work, do yourself a favor and hop on over to his page for some delicious bass music. We hope you enjoy listening to this song as much as we enjoyed making it.

The Adventures of Stefan Ortèz (Eclectic Collective with Mark F)

String Quartet no. 8 took three days to compose. After composing the score for the film “Five Days - Five Nights” which takes a brutal peek behind the curtain of the events of WWII, Shostakovich was heavy of heart, and spent July 12, 13, & 14 of 1960 to compose the quartet. DSCH Publishing says, “Viewing the frames telling about the tragic events of the middle of the century, visiting the monstrous death camps - all this caused the composer, according to him, deeply personal experiences and served as an impetus for the creation of the quartet, which Shostakovich dedicated to ‘the memory of the victims of fascism and war’”

String Quartet No 8 for Brass Septet

Linden Concerto (2024) for flute, english horn, clarinet, horn, cornet, cello, and double-bass -- in three movements.

(starting times)
I.  0.00
﻿II. 3:40 (attacca)
III. 8:42

Linden Concerto (demo)

Arreglo realizado para septeto de jazz. Nivel de dificultad: Intermedio.
Instrumentación:
Sax Alto, Trombón, Guitarra, Teclado, Bajo, Batería

- As Time Goes By -
Comp. Herman Hupfeld 
Arr. Warita Cortés

- As Time Goes By - (ARREGLO / Maqueta) - Septeto de jazz

My Instagram:
https://www.instagram.com/yd.sax/

Youtube version with visuals:
https://www.youtube.com/watch?v=7Np2GyIHRCA

I Couldn't Sleep A Wink Last Night

Cette pièce est proche du jazz pourtant je l'ai écrite avec des outils de la musique savante. Le langage est volontairement consonant, la forme est emprunté à un quatuor de Bartok, et le matériau provient d'une incise de 5 notes, taillé dans un célèbre standard de jazz. L'harmonie est générée par les rencontres contrapuntiques sans soucis d'être contenue dans une tonalité, comme c'est le cas dans le standard d'origine.
Il y a deux parties improvisées, par la guitare et le trombone, où le mode de jeu est celui d'un groupe de jazz.  


Idylle

Terra [ensemble HANATSUmiroir] 2025

"Magic is what we do. Music is how we do it." -- Jerry Garcia

Welcome to my page, my peers, associates, friends, and musical family. I'm a lifelong, multi-instrumentalist musician who records prolifically and joyfully. You'll hear me play guitar, bass (regular four string, and four and five string fretless), mandolin, banjo, keys (piano, organ, synth), lap slide, sitar, and sing on my recordings here. I've been in a few dozen bands in my life, playing everything from bluegrass, jazz, rock, jam band, reggae, funk, afrobeat, Middle Eastern, traditional Irish, singer/songwriter, pop/covers, to experimental/avant garde. 
  Since I found SoundCloud a couple years ago, I've found many talented, creative people with whom to create music. However, in the summer of '23 I formed a band called The Eclectic Collective with some of my favorite musicians I've met through here. It started as a loose collective of musicians and coalesced into a core group of musicians who find other musicians with whom we'd like to make music, then run their songs through our process, and in effect add a full band. That core of The Eclectic Collective includes Tez (Llanpsych), J.J. Terrel, Ken (K2 and the Three), Stephen (Texmex Shaman), Chris (cgmaness), and Mark (mistermark). A couple of other musicians are frequent collaborators, as well, including Artur of Surfers Like Us, and Steve Vervaet of Steve's World. More recently, we've been joined by Carl of The Beautiful Dark fame. 
  The magic of music is amplified exponentially by each person adding to it. So, we really try to add our sorcery all kinds of music from all kinds of artists. Sometimes, we keep it within the group, but a lot of what we do is collaboration with other artists. Therefore these days, 100% of what I do is collaboration, within the group or with other artists on the side.
  I, and we, are also available for hire if you have a song or lyrics and you really want to add bigger instrumentation or a band and good production to it. 
  A small sampling of the artists whom I consider primary influences, and whom you will hear coming through my fingers include Phish, The Flaming Lips, The Grateful Dead, Radiohead, Rye Cooder, Steve Earle, Miles Davis, Fela Kuti, Arcade Fire, Mikey Dread, Yellowman, Purpleman, The Meditations, Michigan and Smiley, Lee Perry, Dillinger, Django Reinhardt, Impossible Recording Machine, The Allman Bros Band, Pink Floyd, Led Zeppelin, Cream, Bela Fleck, Les Claypool, Sam Bush, David Grissman, John Prine, Talking Heads, Beastie Boys, MMW, Moe., Morphine, Ween, Steve Lukather, Michael McDonald, John Abercrombie, Dave Holland, John Scofield, Victor Wooten,  Cannonball Adderly, Thelonious Monk, Flea, Parliament Funkadelic,  Frank Zappa, Prince Paul, Pete Rock, Thievery Corporation, Amon Tobin, Chet Baker, Joao Gilberto, Stan Getz, Astrud Gilberto, Carol Kaye, Tame Impala, Mumford and Sons, Japanese Breakfast, LCD Soundsystem, Beach House, Sean Lennon, and Billy Strings, but of course there are many more. I also really like and am influenced by traditional Iranian, Palestinian, Indian, Sri Lankan, Sudanese, Mauritian, Somalian, Egyptian, West African, and Syrian music. I welcome anyone who plays non-western music to contact me for a collaboration, too.
 I'm overjoyed to have found my community on SoundCloud. This is a truly unique forum where everyone is sincerely trying to build each other up. The profoundly supportive and positive SoundCloud community has really opened up an exciting new world of collaboration for me. That is the main reason I'm in the Cloud, actually, to connect with other musicians and make music that I enjoy listening to, and hopefully others do, as well. I am ALWAYS looking to collaborate with interesting musicians, mostly though BandLab, which is where I record almost exclusively. It's a solid, free digital audio workstation hub where you can share recording projects, even if it's not where you make your recordings.
  Everything I do is live instrumental, not programmed, and using no computer beyond my phone. That's not to say that I would be opposed to using that kind of tool, it's just not my preferred medium with which to paint. If you like my music, please share it. If you want to collaborate, my BandLab handle is @bingo_pajama. Feel free to contact me at cornbreadband@hotmail.com, as well, even if you aren't on BandLab.
  If your music is primarily AI, please don't come around my page, as I'm not at all interested in complimenting a machine.
  Here's a link to music I've recorded live with a group of musicians here in Pittsburgh called The Northumberland Street Ramblers.
Check out The Northumberland Street Ramblers on #SoundCloud
https://soundcloud.app.goo.gl/fU4Me

An innovative classical and multi-genre ensemble based around winds and brass.  Adding new dynamics to the classical and commercial music worlds.

Contrabajista, bajista, compositor, arreglista y productor mexicano. 

En este perfil puedes escuchar un poco de mi trabajo como arreglista y compositor. Algunos de los temas mostrados son maquetas hechas por mi, otras son grabaciones caseras y algunas producciones trabajadas en diferentes estudios profesionales.

No dudes en contactarte conmigo para cualquier colaboración:
https://www.instagram.com/warita.cortes/

Guilherme Ribeiro, 1994, is a young Brazilian composer. He graduated in composition at the University of São Paulo in 2019, where he is currently developing his Master's research (since 2020) in Creative Processes, Composition and Sonology, under the guidance of Prof. Silvio Ferraz, whose research line is Extended Instrumental Technique in Contemporary Music. Currently, he is a student at the Conservatoire de Strasbourg (France), where he follows Daniel D'Adamo's composition course, as well as Tom Mays' electroacoustics course. Ribeiro's compositions have already been presented in venues such as: Sala Cecília Meireles, Theatro São Pedro, Municipal Theater of São Paulo (Salão Nobre), MAC Ibirapuera, Sesc Paulista, CCSP, Salão Leopoldo Miguez, ESML (Lisbon, Portugal), among others. As a composer, he received national and international awards, such as: XXII Biennial of Contemporary Brazilian Music, XXVIII Panorama of Current Brazilian Music, 25th USP Nascente Program, II Atemporánea Festival (Buenos Aires, Argentina), among others. During his graduation at USP, Ribeiro developed a research under Scientific Initiation (2016-2018), under the supervision of Silvio Ferraz, with a FAPESP grant, entitled: The extended technique as a raw material for musical creation. This research resulted in national and international participation in symposiums, congresses and meetings, such as: 25th SIICUSP (São Paulo), III CESEM International Symposium (Lisbon, Portugal), VIII International Encuentro de Compositores (Santiago, Chile), XXIX ANPPOM Congress ( Pelotas), 5th EnCom (Londrina), 2nd NCMM 2021 (Lisbon, Portugal). As well as resulted in the publication of an article in Revista Vórtex, vol. 5, no. 1 (2017). While still under graduation, in 2017, Ribeiro was selected for a research exchange scholarship (Santander/USP) and developed work at Universidade Nova de Lisboa (FCSH-UNL) under the supervision of Prof. Isabel Pires. At the same time, since 2018, Ribeiro has been publishing the 'dialogues about today's musical creations' on his program DENTREIDEIAS (dentreideias.com), with international projection and performance. Currently, Guilherme Ribeiro lives and works in Strasbourg, France. 

guilhermeribeiro.net

Alex Turco : Guitare

contact : alex.turco.fr@gmail.com




In recent years Paul Brantley’s compositions have been performed or commissioned by The Knights (at Tanglewood, BRIC, Dumbarton Oaks and Naumburg Concerts), Minneapolis Guitar Quartet, Horszowski Trio, Flux Quartet, New Esterházy Quartet, Memphis Symphony Orchestra, U.C. Berkeley Chamber Chorus (on tour), Monadnock Music Festival, Bridgehampton Chamber Music Festival, St. Bartholomew's Summer Festival of Sacred Music, The Young People’s Chorus of NYC, Philharmonic Orchestra of the Americas (NYC’s Town Hall), Left Bank Ensemble (Kennedy Center), Ethel (Kimmel Center), Excelsior Trombone Ensemble (NPR’s Performance Today), The Goliard Ensemble on tour, The Manhattan School of Music Symphony, Belladonna (Schubert Club, St. Paul, MN), L’Opera du Village (Pourrieres, France), SONYC (the Kitchen), and as featured composer on these various series: Bargemusic, Ecstatic Music (Merkin Hall), The Harry Jacobs Chamber Music Society, HVG, North River, MOSA and Concerts in the Heights. 

His cello concertino, The Royal Revolver, was premiered in December 2017 by cellist Eric Jacobsen (The Knights, Silk Road Project) and members of The University of Michigan Symphony conducted by Kenneth Kiesler. The Washington Heights Chamber Orchestra will give 25th anniversary performances of On the Pulse of Morning this May, with Abigail Fischer, soprano, Spring 2021. It was recently announced that Brantley is one of three winners of the Aliénor Composition Competition sponsored by the Historical Keyboard Association of North America to compose a new full-length piece for solo harpsichord. Boyd Meets Girl recently gave the premiere of Filles de l’Elysee which will featured on their forthcoming CD.

Paul is a six-time MacDowell Colony Fellow who has also received fellowships from Banff Centre and Anderson Center. Brantley has been composer-in-residence for Monadnock Music Festival, Gabriel Fauré Conservatoire (Angoulême, France), Goliard Ensemble, Yara Arts Group, The Seal Bay Festival, Children’s Choral Celebration, Sewanee Music Festival, Washington and Lee University, and the Sophia Institute at Union Theological Seminary in NYC. He has given composition seminars at Yale School of Music, Hunter College (Anthropology Dept.), and The University of Michigan School of Music.

Multifaceted musician, Brantley has performed or recorded as solo cellist with Trey Anastasio (Phish), Cantata Profana, CITH, Cassatt Quartet, Jeff Coffin Mutet, Béla Fleck and the Flecktones, Dave Gregory (XTC), Heartbeat Opera, Jimmy Page and Robert Plant, Lenny White, and SONYC. Brantley has arranged and conducted for David Binney, Ethel, Todd Rundgren, and Christian Scott.

Paul studied at Manhattan School of Music (B.M), Curtis Institute (diploma), Eastman School of Music (M.M.) as well as Fontainebleau, Tanglewood, and The Yellow Barn where he was later artist faculty. His principal teachers include Samuel Adler, Leonard Bernstein, Eugene Eicher, Alan Harris, David Loeb, Ned Rorem, and David Wells.

He co-founded the Seal Bay Festival of American Music and was artist faculty at Yellow Barn Music Festival for many years. In addition to positions at Syracuse University and Washington and Lee University, Brantley was a Manhattan School of Music faculty member from 2000 to 2014.

Paul Brantley currently resides in New York City where he free-lances as a composer, cellist, and conductor. His music is published by Bill Holab Music and Oxford University Press. He has recorded solo cello for Sony/Columbia, Rounder, Warner Bros., Polydor, Compass, and others.

New tracks tagged #Septet