1 حكاية ولد

Further investigation into the futuristic spaces found in Japanese ambient and pop music from the 1980s...

Fairlights, Mallets And Bamboo Vol. 2

Jaguar Skills - 30 Years of Hip Hop in 60 Minutes

I'm Aare. I've been active in music in the early 90-s. After the 24-25 year silence I decided to came out of the closet and create new sounds. I create sounds what are waiting and demanding the creation.

www.facebook.com/woldemaremusic

WOLDEMARE - See Mis On Päriselt

Written in response to a contemporary art exhibition by a local artist in Sheffield.

One particular exhibit drew my attention as it contained a partially-obscured piano score. On closer inspection the music turned out to be a segment from a well-know piano study on step-wise contrary motion.

The piece in question is here: http://www.lizvongraevenitz.co.uk/portfolio-item/the-universe-music-and-me-4

I'm particularly interested in "found art" and partially-revealed source material, so it wasn't long before I had transferred the piano lines to my score paper and began to build a piece around them.

There are two sections. In the first, violins and cellos pluck their way through the contrary motion material from the original piano exercise, whilst a wind trio attempt to perform homophonic statements of the classical V7-I cadence. The wind section are unable to produce meaningful harmonic cadences because a pointillistic convention has been imposed. Undeterred, they travel around the circle of fifths, attempting a cadence at each step. Where parts of the piano score are obscured (by sections of a printed circuit board), a synthesiser plays a "sample and hold" line. This is technology's naive and misguided attempt to decorate the wind cadences with a coloratura line.

In the second section, the wind trio are granted space to conclude their cadential statements and complete their journey around the circle of fifths. The final cadence (E7-A) is celebrated by a flatulent trombone, swanee whistle, and percussion. It's only now that the piano feels it can make its contribution, which it does by proudly announcing a broken major chord. Unfortunately, this confident, vulgar statement is mis-timed and not welcome, so its left to the percussion section to cut it short and introduce the closing section. For the close, the ensemble present a contradiction in terms - a pointillistic tutti, followed by a successful tonic-dominant cadence from the string section.

Top To Bottom

roland 770,boss sy 300,e-bow,boss dr 880,op.715

1 Boom, Like That

The main theme in the Commodore 64 game Soulless by Trevor Storey and Georg Rottensteiner, in which I wrote the original music.

Trivia: Written over 6 months. Quite a lengthy tune, as I wanted to try avoiding it being too repetitive.

encore - soulless (in-game)

in the wilderness

Afr tib islam mix

Full support for the FRIDAYS FOR FUTURE movement!
free download!
production & mix: T-Jah
words: Greta Thunberg
percussions: Horseman (drumdrops)
frequencies lifted by LXC808.com

in the wilderness

Terry Cannon

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