This is me playing some cool jazzy grooves during a brief intermission while the band takes a break prior to performing the 2nd of their 2 sets. 

Timbre' Live Jazz takes place monthly at Principle Barbers featuring 
Jeremy Joel Warren and The Messengers of Black Music and
DJ Sean Alvarez on the 1s & 2s. 
www.DjSeanAlvarez.com

Live DJ Sets

Timbre Live Jazz 6/1/24 - The Intermission

The three main lessons of the Overtone (or Harmonic) Series.

To view the videos this audio is taken from, as well as related links and slides, visit: https://is.gd/zPSSIK

If you’re interested in purchasing the online textbook for this course, find instructions on how to do that at https://sarahwallinhuff.com/history-of-technology-in-music

New episode each Thursday!

Unit 1c: Overtone (Harmonic) Series

We Got The Timbre

Predator Prey - Timbre Hearts

Parades of Masks
Timbre Hearts
(Halloween)
2024

Halloween - Timbre Hearts

chamber

goodbye meow meow meowerson meow

In episode 9 of Exploding Facts, host Mia, along with kid experts, discusses the elements of music. We learn about pitch, rhythm, dynamics, form/order, and timbre! We also explore the science of overtones and why instruments sound different.

Episode 9: What is Music?

I hope this song will help to wake up those, who are ready. It will guide you.

Слухай (Repaired)

Вогонь

En este episodio platicamos sobre: 

1.Presentan timbre por los 700 años de fundación de México-Tenochtitlán
*Ale Cruz nos resuelve un enigma más en el Mascotip de la semana
*Gobierno de México pide repatriar a connacionales del Alligator Alcatraz
*Todo sobre los espectáculos con Rich Zarate 
*Ucrania registra las primeras grandes protestas contra el Gobierno de Zelensky desde el inicio de la guerra

24 julio 2025 - Del Toro por el León de Oro

"Selenetrope" is a short study on bow nuance and timbral shading. Composed over three days during the 2025 Darmstadt Summer Courses in close collaboration with violinist Karl Jõrgi, the miniature explores fragile, unstable materials at the threshold of sounding. I want to express my gratitude to Karl for his fantastic collaboration and sensitive playing, and to mentors Rebecca Saunders and Sarah Saviet for both creating the environment for this collaboration as well as providing guidance on detail and notation.
A “selenetrope” is a mythical plant which blooms in the presence of moonlight.
-- HAB

*Headphones recommended; any background noise is part of the Darmstadt Experience.

31 July 2025
Darmstadt, Hesse, Germany
Karl Jõgi, violin

Selenetrope (2025, world premiere)

"What a beautiful day... to ruin everything."

This song is for the bored, the angsty, and the rebellious. "Let's Be Bored" is a cynical story told through a powerful male/female duet.

It fuses the raw, melodic energy of pop-punk with the "wall-of-sound" chaos of a heavy brostep drop. It's the sound of having it all and throwing it all away. #Ai assisted. mixture of human production with timbre transfers and ai vocals

Bored

¡Te informamos lo bueno, donde quiera que estés!

Music is Sean Alvarez's Sanctuary.... 
The foundation was built over 25 years ago nurtured by the sounds of classic soul, disco, house, hip-hop and jazzy grooves. Since then Sean Alvarez has earned the respect of being one of Chicago's premier DJ's and Sound Curators. His love and respect for the music and the culture are the driving forces behind his ambition. He has played at several famous venues in the States and internationally alongside some of the most recognized names in music. Showing a strong commitment never to compromise his style and integrity he remains true to his roots by playing a wide variety of genres and timeless sounds that stem from authentic soul and jazz music.

His goal as a DJ has always been to entertain as well as educate his listeners. 
As creator of brands AfroFuturistic, We Love Soul, and co-founder of the former Swank Society internet radio station his mission is to spread love through music. He believes the DJ serves as a channel and has a sacred responsibility of providing people with music that is Good for their mind, body, and soul. When communicating with crowds through music the correspondence on the other end often results in bliss and nothing but a feeling of Goodness.  

Although Sean is very selective about the music he chooses to play, he prides himself on having a good ear for music and knowledge of how to provide the crowd with vibrations and energy that sound and feel Good. After listening to him play it is likely you will agree.

Check him out via the following websites. 
www.DjSeanAlvarez.com
www.WeLoveSoul.net

Sarah Wallin Huff has enjoyed her work as a composer for concert halls and soundtracks since 1993. Her original compositions have been performed throughout the States and abroad, including the Exeter Phoenix Auditorium in Devon, England; the Mosman Art Gallery in Sydney, Australia; the Zipper Hall in Los Angeles; and the National Opera Center in New York City. As a violinist, violist, and 6-string electric violinist, she has extensive experience playing with diverse ensembles, as well as performing on various recording projects, large and small.
- Multiple GMA medal award winner
- Second-place winner of the Charles Ives Award (The American Prize)
- "Her music positively buzzes with energy…There is no doubting that Sarah Wallin Huff has a distinctive voice that is well worth hearing..." (Fanfare Magazine)
- "Her music is quite complex and unusual and yet…very easy to absorb and appreciate. There’s a lot to take in here…" (Baby Sue)
- "Sarah’s music has a classy, understated sound, yet it is baroque and ornate" (Artist Rack)

Essex, England-based electronic music producer known for a versatile, dynamic sound palette. Creating high-impact tracks that span the spectrum of modern electronic music—from pulsating House and energetic Dance/Electro to deep, powerful Drum and Bass and Dubstep. A recognized presence, with compositions featured across major platforms including BBC Radio and Amazing Radio.

Hannah A. Barnes (b. 1997) is a Montréal-based composer and conductor. Her work centres on crafting structured yet dynamic, multi-faceted musical worlds characterized by mercurial, volatile, and seemingly incompatible materials. These works straddle tension and expression for both performers and listeners. Barnes' main concerns are (re)defining Modernism in the twenty-first century, investigating manifestations of complexity and polyphony, and addressing questions of syntax and semantics within a non-narrative musical language that encompasses both harmonic and noise-based materials. Having been described by a performer as composing “alien music,” she embraces the strange, unpredictable and mysterious in art of all kinds.

Currently a DMus student at McGill University studying composition with Prof. Philippe Leroux, Hannah completed degrees in composition (MMus w/Distinction ’21, BMus High Honours ’19) from DePaul University, with additional studies in conducting. Collaboration is central to Barnes’s compositional practice. She has worked closely with soloists, including oboist Kyle Bruckmann, guitarist Jesse Langen, hornist Tarre Nelson, vocalist Joanna Mieleszko, percussionist Alexandre Garde, pianist Ian Pace, violinists Bailey Wantuch and Jennifer Gersten, duos Garden Unit and Flannau Duo, and the brass musicians of Ensemble Musikfabrik to develop new works. As composer-in-residence, she composed a large ensemble work for McGill’s Contemporary Music Ensemble in 2024. Upcoming commissions include new works for Boston-based Lamnth (violin + cimbalom), Montréal-based Quatuor Memoire (string quartet + mezzo-soprano), piano automaton (outHEAR Festival 2026), guitarist Jamie Monck and electric guitarist Matt Sargent.

Her work has been performed in the United States, Canada, the United Kingdom, Germany, Austria, Japan, and Australia, in programs including the DePaul and Dal Niente Summer Residence for New Music (2020), the Summer Institute for Contemporary Performance Practice (2021), the Yarn/Wire Summer Institute (2022), Omaha Under the Radar Festival (2022), the Darmstadt Summer Courses (2023, 2025), the Musikfabrik Virtual Brass Academy (2025), and Impuls Academy (2025) and at schools of music including DePaul University, McGill University’s Schulich School of Music, the Eastman School of Music, UC Davis, UC Berkeley (CNMAT), the New England Conservatory, the University of Arkansas, Florida State University, Benedictine College, and the City University of London.

Barnes’ work for oboe and electronics, “Dis/inte/gration” (2019, rev. 2020) was recorded by Kyle Bruckmann and included on his album of rivers, released March 2024. Her debut album, Negative Capability: Works by Hannah A. Barnes, was released in December 2024, and includes performances by Ensemble Dal Niente, Kyle Flens, Jesse Langen, Garden Unit, and DePaul University’s Ensemble 20+. Her work has been acknowledged in the Chicago Reader and “Best of Bandcamp,” selected in calls for scores in the United States, Canada and Austria, played on impulsradio (Graz/Helsinki), and awarded an ASCAP Morton Gould Young Composer’s Awards honourable mention for her work “five images.”

Hannah founded the "rhythm is image" new music initiative after being struck by the inexplicable and insatiable desire to perform Stockhausen’s Mikrophonie I in 2019. She has a special interest in organizing, conducting, and performing in concerts, focusing on experimental performance practice and advocating for “difficult” music. rhythm is image has performed as parts of concert series and festivals in Chicago, Montréal, Omaha (Nebraska), and Fayetteville (Arkansas).

As a conductor, her focus is on contemporary music, following studies with Prof. Michael Lewanski. She conducted premieres at the DePaul and Dal Niente Summer Residency for New Music in 2020 and 2021 as well as at several concerts at McGill. Her dream conducting projects are Grisey's "Vortex Temporum" and Stockhausen's "Gruppen."

Hannah is also a devoted educator. She has taught theory and aural skills to high schoolers at the Chicago Music Academy (2022-23), students at DePaul University (as Lecturer of Music Theory from 2021-23), and McGill University (as Lecturer of Music Theory, 2024). While at McGill, she served as president of Le Vivier InterUniversitaire and the McGill Association of Student Composers, and Vice President of the Music Graduate Student Society. She was a Writing Fellow through the Graduate Writing Centre in 2024-25, where she developed and implemented initiatives to support Schulich School of Music graduate students with their written academic milestones. She contributed a chapter on composition pedagogy and approaches to teaching composing for a forthcoming book to be published by Routledge.

Barnes lives in Montréal with her terrier, Kaylee, and maintains a strong connection to her roots in Chicago. Her compositional practice is fuelled by strong coffee, postmodern literature, the study of Irish mythology and tradition, and Pilates.

Hello, my name is pippy. 

welcome to my diary.

its the holidays. 12-17-2025

-----
ABOUT pippy (that's me, pippy):

enoff have asked who and what is pippy. pippy is pippy, i.e., a silly name with no meaning or basis. the idea of pippy was to create a baseless character for my music to live in, unbound by any sense of seriousness, coolness, likeability. the name and idea of pippy is to provide a 'wtf' response from whomever stumbles upon this page. i do not like creative boundaries, expectations, and preconceived notions. i think a lot of musicians get wrapped up in identity (crisis) and advertise their music with intent of being listened to, and become influenced by what is known to be likeable. i purposefully do not advertise, share, or promote my sounds to retain an honesty and rawness in what i produce. i write from whatever is on my mind, in my mind, at the moment. nearly all tracks are sloppily written in 1-3 hour bursts, and then thats it. 99% of my tracks are completely written from scratch, lots of midi work and many modulations to create a dynamic sound. i try to keep things unpredictable, to a fault.. i become bored very easily, and i enjoy this process i have nailed down. i leave it to the community and the listener to decide if my tracks are worth sharing. as you can see from the numbers, my page is quite lonely. i like it this way. but, if you enjoy what you hear, i leave my promotion in your hands. pippy enjoys creating for the sake of creating, out in the world of pippyland. i encapsulate current emotions in each track, so this is the closest thing i have to a diary. i can recall the mood, state, time, period of each piece, and it is an amazing way for me to recall my past. there is no social media maintained for pippy, no other source for these tracks. just shitty soundcloud, which is quite awful. i should invest more time in expanding to better platforms but i am a creature of habit. if you've read this far, then yer one of the few that is intrigued by the sounds and so i'll continue for u.

original concept for pippy:
pippy was orphaned due to mother passing during birth. the father was totally distraught by pippy's green colored skin, and what appeared to be red hair., as such, abandoned, pippy was sent to work in the ole' mill in the glorious 'Tube City'. pippy enjoyed his work, but one day while having tea in his shack, he heard a shriek. pippy investigated his neighbors box and was shocked to see a dead body. Tube City police arrived shortly after and attempted to arrest pippy. alas, he gave them the ole' pip-slip and made a shabby escape at the local marina. pippy sailed far away to an island where he met garp, a red faced dim-witted creature. pippy enjoyed the peaceful nature of his new life on the island, but eventually the wails came. pippy trapped on the island, was forced to turn himself in! the court hearing occurred immediately and all at once: pippy was to be sent to Penal Planet for execution. the ship took months to arrive at the block. as pippy exited and walked to the gallows, chains sweeping in the distance, he remembered th


Spotify:
https://open.spotify.com/album/3v2S5ZASfH8BVTw0HEsN5i
Apple:
https://music.apple.com/us/album/world-of-machines/1526087649?uo=4&app=music&at=1001lry3&ct=dashboard
Google Music:
https://play.google.com/store/music/album/Pippy_World_of_Machines?id=B4vjsvm4ypou2msccmb6wxkcasq

A podcast for kids, by kids. Hosted by Mia, and featuring a rotating cast of co-hosts, experts and Fact Battlers.
We explore topics you thought you knew -- listen to Exploding Facts and have your mind exploded!

Gerardo Guzman is a composer of electronic music of the Trance and Synthwave genres

He likes to be inspired to compose grooves with the Mashcine and MPC drum machines as well as the Ableton Live Session Sample Mix. 

The compositions in his songs are layered to generate emotional moments when making the transitions of sounds in the instrumental groups

He likes electronic music because of the groove and because it is a means of artistic expression that cannot be politicized and allows him to give emotional variety to music fans


Gerardo Guzman es compositor de musica electronica de los generos Trance y Synthwave

Le gusta inspirarse para componer los grooves con las cajas de ritmo Mashcine y MPC asi como el Sample Mix de Ableton Live Session. 

Las composiciones en sus canciones las estructura por capas para generar momentos emocionales al hacer las transiciones de sonidos en  los grupos instrumentales

Le gusta la musica electronica por el groove y porque es un medio de expresión artística que no puede ser politizada y permite darle variedad emocional a los fans de la musica

Spotify profile: spoti.fi/2UwdBT0 
Instagram: @gerhardguzman

New tracks tagged #TImbre