taste

Merry Christmas! Here's a new arrangement I did of the traditional Christmas Carol "Angels We Have Heard on High" that goes in some fun and unexpected directions. Features Ingrid Chun on Violin and myself on Clavichord, Dulceola, Celestaphone, Piano, Trilian and Omnisphere. Enjoy! :-)
©2013 Eric Persing - Big Green Music ASCAP

Angels

Demo Songs showing the 100 patches that are included in the Omniverse III: Aurora library for Spectrasonic's Omnisphere.

BTW, drums in first 1/2 are MegaMacho Drums for Kontakt 5. Drum in second 1/2 is a drum groove included in the MegaMacho Drums Power Pack for iZotope's BreakTweaker.

Before Sunrise - John Lehmkuhl

A short improvised piano piece created while staring at the Fog rolling in over the ocean.

The Fog King

Last night the heavens finally opened for us here in Los Angeles. Here's a meditation on feeling grateful for the first rain after a long drought.

First Rain

WORLD'S SHORTEST FUSION PIECE. Eponymous.

The Square Root Of Three

A-section: a bird in late autumn getting ready to fly south; B-section: me wanting to fly east to my grandparents for Christmas. Cruciform.

Warmth Awaits

A meditation on the meaning of Gesthamane. Performed live by Eric Persing in 1998.

Artwork by Kathleen Izzo. 


Gesthemane

*(CERN: programme to be handed out to concertgoers)

Upon reading a book called Flashforward by Robert Sawyer I wrote a piece celebrating the CERN nuclear facility near Geneva, Switzerland.
Part A and backwards Part A in string and brass patterns represent CERN's huge 27 kilometer circular tunnel.
100 meters above the tunnel are farms, represented by the cowbells and horse plough sounds appearing near the beginning and near the end.
The atomic event in pitchbent oboe and horn represents a particle being accelerated and then splitting, yielding a shower of quarks 'n stuff, represented by the tumbling sitar and tinkle bells.
The computers running the experiments are represented by the two clarinets in robotic tandem.
The desired replication of the instant after the Big Bang (Creation) is represented by the spacey choir.
Part B, the middle section contains the first phrases of the Swiss and French national anthems first appearing in different voices together, then appearing as one melody made of both anthems. This represents the triumph of human striving.

If You Have The Time

Cmaj SLOW CERN - A Tone Poem

(Main Section:)
I am the last man left on Earth,
There aren't ma-a-ny-y days left for her,
My life's, been too lo-ong.
I watched as my family slowly passed,
I am crying as the last blade of grass,
Gro-ws old, and wi-ithers.
The Crystal Eye, watched us die-ie,
Just a minute, for infinit-
y's Spy!
Were we an experiment, nothing more?
Have we satisfied an alien force,
This feels, so wro-ong.

(Middle Section:)
One day high in the sky I saw the Crystal Eye, 
I'd seen on walls of a cave,
In Spain!
We had plundered our planet and at last begun,
The irreversible plunge,
So vain!
We freaked out, 
War broke out,
The President pushed in the button,
It was hard to tell,
But hell, he said we won.
The Eye,
It just stared at our pain!

(Back to Main Section)

Crystal Eye

Without the help of my dear friend from Clark University, the late Paul Titchener, this would never have been written. He introduced me to what he called 'Modern Jazz' at the time (1971)and shared ideas for the piece over the years of its development. Another dear friend, the very present Marc Rosett, was part of these discussions.

Extravaganza In Mixolydian Mode

Dedicated to my late father, Addison Howland Kermath, Sr., a brilliant man. In Old English 'ǣrgōd' ('eregood')sums up his preferences: "Good because they're old; old because they're good".

French Overture

By John Kermath for our father, the late Addison Kermath, Sr. For me, this conjures up Daddy's travels with Karen in Latin America.

Travels in Spain

John Kermath's "Spanish Love Song"

by Howland Kermath (guitars, keyboards) and Steve Armijo (electronic drums, tabla, production abuses).

Dr. Space

(somewhat rough take, but anyway:) Written 1973 by Howland Kermath, but Anton Johnson helped with the solo. Performed by Howland (keyboards) and Stephen Armijo (drums). Dedicated to my friend, Eve Scherr from Clark University.

Definitive Tesseract 

E-minor Blues

Allan Holdsworth 1946-2017 with my brother-out-law Tony Johnson, the devotee who introduced me to Allan's music. Thank you for your inspiration, you guys!

Unfinished Sonata for Holdsworth

This demo has been created by Canadian artist, Oscar Finch. In this demo, he has used TR-8 for its drum track and "Blippy Headspace" from Modulations Vol.1  collection.  Other sounds are from Modulations Vol.2, which will be available soon.

DRONESWEEPER V2 (TR8 Hats & JDXA Drums) JD - XA Demo

Another demo materials from Modulations Vol.1 by Oscar Finch.  In this demo, you will find "Sadness" from this collection has been used.

MOUSEBREATH V2 (U - Tonic & Ultrabeat Drums) JD - XA Demo

Twelve short demos of the forthcoming Omni-X vol2 patch library for Omnisphere.

OmniX Vol2 Demo: Peace Will Reign by Tim Dale

6 Different songs showing just SOME of the places you can go with this new patch library for Omnisphere 2. 256 patches and 64 Multis give you a huge mountain of creative sounds to play with!

Buy the library at: www.PlugInGuru.com

Omni-X V2: A 6-Song Demo by John Lehmkuhl

This is a demo of Technics´ rather underrated venture into the synth world, the WSA-1. Yes, it can do pianos, both electric and acoustic, and strings and brass and woodwinds and guitars and organs and a plethora of other more or less realistic sounds based on instrument samples from the "acoustic" world (hey, I guess that´s why it was labelled "Acoustic Modelling Synthesizer" rather than "Physical Modelling" because Yamaha seemed to have been rather touchy about others using that term at that time). Its real strength, however, is the creation of otherworldly, sci-fi-type soundscapes and industrial-sounding drones which could serve as the sole soundtrack for a sci-fi flick, I recorded quite a lot of ambient textural music in the past, and many of the textural sounds came from the Technics, either directly or sampled and looped beyond recognition. These demo tracks were recorded straight to DAT, all tweaking was done in realtime using the WSA´s joystick-type controller. Apart from some external reverb (Sony R-7), all effects were the internal FXs the WSA comes equipped with. Enjoy.

taste

Tesseract ... U.S.A.