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Trying to reboot the Kybone Studies after a hiatus...messing with the two-mic setup again--one for audio input, the other for amplitude following...

Kybone 19b

Our Spice Fusion play-along track was originally produced as a play-along for the transcription I did of Dave Valentin's flute solo - but trombone virtuoso Trevor Mires sent this incredible performance of the flute solo!! Features the late great Simon Goulding on bass and percussion, Elliott Henshaw on drums, Tim Rose - guitars & me transcriber, producer & programming. Backing track and pdfs available for all instruments. email us at spicefusionuk@gmail.com

Shamballa - Trombone version featuring Trevor Mires

TROMBOVENTURE

My overdub recording of my arrangement of the the main theme to the Book of Boba Fett series on Disney+.

The Book of Boba Fett - Ludwig Göransson

Chord progression:
Bb7(#9)
Eb7
F7(b13)
F7

One-Person Jam Band

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This one's called Zero Zero. A little bit grunge, a little bit folk, some flange, some synth, some guitar - please to enjoy.

Zero Zero

chirp chirp
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Bird Noises

My FUNFARE FOR SANITY (Op. 129) for brass quintet (June-July, 2022). I started composing FUNFARE FOR SANITY (Op. 129) for brass quintet (two trumpets, horn, trombone, and tuba) in the early days of June, 2022 in anticipation of submitting it for consideration by a committee for a possible performance on a Cascadia Composers concert by a local brass quintet. After several days of intensive work in an effort to meet the deadline (about a week thereafter) I learned that I was ineligible to submit the piece (on account of having already had a piece of mine performed on the previous Cascadia Composers concert a month earlier), which was just as well, since the quintet still needed considerable work. I would have called this piece "FANFARE FOR SANITY" but didn't like the assonance of the title, thus: "FUNFARE," which is, perhaps, more evocative of its festive mood. I could be wrong, but assume that where one encounters sanity, one also tends to encounter peace, harmony, and justice—all conditions of which are sorely needed in these deeply troubled times. Prithee listen and enjoy! I welcome responses from listeners. For more information on the composer, please visit his website at: garynolandcomposer.com

FUNFARE FOR SANITY for Brass Quintet Op. 129

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

Electronic musician and instrumentalist. 

Member of the Prophet Collective

I create music and sound...for chamber ensembles, soloists, occasionally large ensembles, and often including electronics.  I also improvise using my trombone, laptop, or both.  THESE ARE MY SOUNDS.  Please enjoy!

We are a Brooklyn based, all-originals, indie blues, disco punk, jammy proggy swing pop garage-y rock band.

New tracks tagged #trombone