I have no idea whatsoever what any of the quotes or words mean that you wrote, but I find the music quite entertaining. I infer a sense of mystery and humor in the piece. Well done!

Nice!  I like the inter-twining melodies.  Has a fresh feeling.

An interesting and attractive sound. The combination of strings and percussion is unusual and gives it a brightness.

https://www.australianmusiccentre.com.au/product/our-duty-to-care-song-cycle-for-soprano-piano-trio

Our Duty to Care is a cross-disciplinary music composition based on the legal case Sharma v Minister for the Environment [2021] FCA 560, where eight Australian teenagers (namely Anjali Sharma and Isolde Raj-Seppings, Ambrose Hayes, Tomas Arbizu, Bella Burgemeister, Laura Kirwan, Ava Princi & Luca Saunders) represented by an octogenarian nun (Sister Marie Brigid Arthur) as their litigation guardian, sued the Minister for the Environment (Cth) and Vickery Coal Pty Ltd.
They successfully argued that the Minister owed them and other Australian children a duty of care, which was supposedly breached when the Minister approved the extraction of coal from a coal mine.

Whilst this decision was later successfully appealed by the Minister, this case monumentally established that climate change is legally real – with all submitted scientific evidence un-refuted. This denotes a significant shift, as we are no longer fighting to prove our climate crisis, but rather urging all to fight the crisis itself.

This work sets newly commissioned text by poet, close friend & regular collaborator Savanna Wegman, who has re-interpreted my own legal research about the case into a 3-part poem, which has in turn structured the song cycle. It embodies climate anxiety, the nervous excitement of the trial and its success, and the melancholic yet hopeful transference of ideology: how far we’ve come & how far we still have left to go.
Composed as part of and made possible by a 2022/23 University of Melbourne Wattle Fellowship.

Timing: ~ 18 minutes 
1: Robed in Apocalypse (~6min)
2: they will rise, as birds fall (~5min)
3: The Changing Wilds (~7min)

Written for Bridgette Kelsey and Solstice Trio. Dedicated to all current and future generations of Australians who inherit a climate crisis. 

Bridgette Kelsey, soprano
SOLSTICE
Isabel Hede, violin (guest)
Stephanie Arnold, cello 
Georgina Lewis, piano

Commissioned Cover Art Illustration © by Lucinda McIntyre.

Commissioned Sext Text: ‘Prophecy, as a fire comes’ by Savanna Wegman © 2022 
Text used for 1: Robed in Apocalypse:
No more prophecy 
until the sky begets a softer 
Everlasting sun 
or
the youth unravel 
braided darkness
rushing innocence
all over Earth 

Shadows designed 
for our tired birth places
ghosting the new life 
upon babbling breaths  
 
And so the young are born 
New guardians 
Robed in 
Apocalypse

Text used for 2: they will rise, as birds fall:
Know they will rise
As disappearance is written  
on ancient weather 
become beast
She watches above 
as birds fall 
out of the mother sky 

March into the high courts 
of creators and destroyers
Anjali Sharma and the army 
                  Future keepers
Enter this laced arena 
burning horizons in their bellies 

The Minister surveys the gravity
how deep we may breathe
how quickly we will fall
when the Earth veins split 
and the sanctuary howls 
at its open flesh  

The weather sounds like a whisper 
in these walls that stand for justice 
Lay down a pocketful 
of bird bones
of poison oceans

Text used for 3: The Changing Wilds
They speak for the
forgotten
Their ancestral home-body
Their drowning, burning worlds
for their lands that have lost hope 
together their voices are louder
Becoming suns
Becoming rains 
Becoming rivers multiplied 
Becoming the skyward call 
of protection 

this call
Is honoured
the duty of care rewritten
A first for acknowledging
the changing wilds

Evidence now held
in palms that believe in
collapse
and might begin to
listen
Blessing the horror 
with a soft breath of courage 

Remember how
young sacred tears 
are greeting Earth 
like miracle seeds

Our Duty to Care (LIVE)(song cycle for soprano & piano trio)(2023)(Bridgette Kelsey & Solstice Trio)

This EP was first released as a tape at Already Dead Tapes (AD168). The tape has been sold out, but the EP is available over at Already Dead Tapes : alreadydeadtapes.bandcamp.com/album/low-serotonin

"The world of ambient noise is one that can easily become monotonous and redundant. Expectations of these “spaced out” arrangements are usually met due to the listener’s understanding of the genre. There is, however, comfort in knowing what is coming from these musical experiences; but it is lovely when an artist throws you through a loop and knocks you out of your comfort zone. This is exactly what Lcoma & The Next Commuter drop into your lap on their new release ‘Low Serotonin’. Naturally progressing from their last release with Already Dead (2012’s ‘Waiting to be Spoken To’), the group takes you to a land where gravity holds no bearing, and time is only a myth. Unlike many ambient noise based albums ‘Low Serotonin’ plays more like an organic feeling than a movie score. It is music to implode to; slowly winding its way around and through movement after movement into a victorious conclusion."

- Wesley Nowlin, Already Dead Tapes, 2015
credits
released May 12, 2015

Low Serotonin

Buy here

Low Serotonin (Lcoma & The Next Commuter)

This track is part of Athenian Truckstop Issue #4 Songs for Dreaming release, found here:
https://atheniantruckstop.bandcamp.com/album/issue-4-songs-for-dreaming

The theme was dreams

https://soundcloud.com/douglasmseidel: banjo, bass, beans, drum, cowbell, gong, organ, other stuff, penta guitar, toy piano, water jug 

todd: drumset, crow call, percussion, semi-modular, voices, whistling, words



it started with a plastic 24oz jar 
half filled with foamy yellow liquid 
and some very sticky residue at the top

tom of tom and jerry
fame
had one broken ear
he was sitting on the ledge 
of the garage window

I can’t remember what I was doing

but I know I was wearing a 
poultry keel necklace
that laid so elegantly 
over my clavicles

every thought 
every measure 
gets bigger and faster 
and further from the next

plumb shucks said to thumb plucks 
untuck that loose end of the dumpling lover
and wrap some warm rising dough around your head
dumb luck kept ducking under the fun chunks 
until he realized he was bouncing on a shingle instead
he said that’s some kinda skipping slip of the bliss bud

chimichuck said to raisin brains

wrench mouth woman has a heart in her throat
with the wave of her stick arms she weaves me a coat 
the birds that are flying carry sticks to her breast
crescent wrench moon lucky charms and the rest

sticky residue

Edmund Spencer's The Faerie Queene
Book 5 Canto 6 verse 5

As if before she had not counted trew.
  For houres but dayes; for weekes, that passed were,
  She told but moneths, to make them seeme more few:
  Yet when she reckned them, still drawing neare,
Each hour did seeme a moneth, & euery moneth a yeare


10/8 [akin to Armenian Jurjina rhythm] with emphasis on 1[3]468
and some 3/4 or 3/8 and 4/4

[In/out] of Time        Music for String Quartet and percussion

ABDE

ADBE

Praeludium Harpeggiato - Johann Casper Ferdinand Fischer - Clio suite + 3 Variations

Piano with 4 Variations

Cover version recorded live at The Old Shed.  American singer songwriter Townes van Zandt wrote this song for his 1972 album, and Willie Nelson and Merle Haggard had a hit with it in 1983.

Pancho And Lefty (cover)

« Maria Laniakea » for flute & electronic
Recorded at the abbey of hautecombe on Thursday, December 7, 2023
Franck Douvin © 2023 Flute recordings
Thanks for listening & sharing !
I hope you'll enjoy !
Here's my inspiration : « Jésus est le soleil. Marie est l'Aurore qui annonce sa venue »
PAPE FRANÇOIS
And :
« Dans l'univers, de nombreuses forces sont à l'œuvre, que nous ne connaissons pas encore, comme l'énergie noire.
Un exercice courant dans les devoirs scolaires consistait à représenter notre système solaire sous la forme d'une maquette.
Grâce à cet exercice, nous savons que le système solaire est un ensemble de planètes qui tournent autour de la grande étoile dorée. Mais dans ces modèles, le soleil était statique et flottait dans l'immensité.
Or, les astronomes soulignent depuis des décennies que le système solaire, et surtout notre galaxie, la Voie lactée, se déplacent dans l'immensité de l'univers à une vitesse d'environ 600 kilomètres par seconde.
Et l'on sait depuis longtemps que ce voyage a une destination.
Les découvertes faites dans les années 1970 par un groupe d'astronomes ont permis de déterminer l'existence d'une "grande force" dont la source serait la destination du voyage actuel de la galaxie.
Cette force a été appelée le « Grand Attracteur »
Notre galaxie se dirige vers quelque chose que nous ne pouvons pas voir clairement. Le point focal de ce mouvement est le Grand Attracteur, fruit de milliards d'années d'évolution cosmique", explique à BBC Mundo le cosmologiste Paul Sutter, professeur d'astrophysique à l'université Stony Brooks de New York
Et malgré la vitesse impressionnante à laquelle notre galaxie voyage, elle n'atteindra probablement jamais la destination fixée par le Grand Attracteur
Nous n'atteindrons jamais notre destination car, dans quelques milliards d'années, la force d'accélération de l'énergie noire détruira l'univers explique M. Sutter.
L'énergie noire, explique la NASA, est une force mystérieuse qui imprègne le cosmos et accélère l'expansion de l'univers.
Comment notre compréhension actuelle de l'univers est en réalité "un aveu de notre ignorance"
Cela signifie que les galaxies s'éloignent de plus en plus les unes des autres, jusqu'à ce que, dans des milliards d'années, la structure de l'univers telle que nous la connaissons aujourd'hui soit détruite.
Comprendre les effets du Grand Attracteur fait donc partie de la quête de compréhension de la structure de l'univers.
Dans l'étude de l'univers, il est très important de savoir comment il est organisé, pourquoi il est organisé à partir de structures qui ont certaines dimensions, et le fait de connaître chacune d'entre elles et leurs dimensions nous aide beaucoup dans cette entreprise", a déclaré à BBC Mundo Carlos Augusto Molina, un astrophysicien colombien qui travaille au planétarium de Bogota.
Au fur et à mesure que l'exploration spatiale progressait, en grande partie grâce au télescope Hubble envoyé dans l'espace dans la seconde moitié du 20e siècle, les astronomes ont été confrontés au défi d'organiser d'une manière ou d'une autre tout ce qu'ils voyaient.
Une sorte de carte a commencé à être dessinée et, bien sûr, l'un des points clés était de savoir où se trouvent notre système solaire et notre galaxie dans l'univers.
Vers les années 1970, nous avons commencé à étudier le mouvement de notre système solaire et de notre galaxie, et nous l'avons comparé avec le mouvement d'autres galaxies proches, et tout semblait aller dans la même direction, celle de l'expansion de l'univers", explique M. Sutter.
Notre galaxie, la Voie lactée, se dirige vers l'endroit où se trouve le Grand Attracteur...»

« Maria Laniakea » for flute & electronic

Why're you always asking...'bout my weakness...'bout my strengths
say you got some kind of powers
and those powers are to make me shrink
O na
there must be a longer length
there must be a pinker pink
to measure me with...
gonna run against this wall...
say: I gotta get over it...
so I run and run to defeat that stone
I run and run and I'm as...again again I fall
yea
you possess a social claw...you drag me in
drag me in...and I fall
but when I go I run...I run against the rock
the stone
the intemperate gnawed on bone
and I leap upon that turned back
I leap up over that ledge that's stacked
and I cannot fall...from that high wall
O
Why're you always asking...'bout my weakness...'bout my strengths
yea gonna run against this wall
say: gotta get over it
and I leap upon that turned back
I leap up over that ledge that's stacked
and I cannot fall...from that high wall
O I gotta get over it

Gonna Run Against This Wall

Using only two Quilcom Synths (physical modeling) + DRMR + Deelay ... all free Synth VSTs.
Quilcom Sim Reed is fabulous, because it works perfectly with breath controller.
Quilcom Hyperbeam simulates the sounds of an instrument you can't buy, it's a simulation of
"Blaster Beam" (Star Trek), 5 meters long, with 24 piano wires :-) ...

Nothing's infinite

Performance at Persian Sound City
12th June 2025

A Performance of First Portrait
Kamancheh: Amin Naseri
Piano: Sepand Yekrang Safakar

اجرای شهر صدای پارسیان
بیست دوم خرداد هزار چهارصد و چهار

بر اساس پیکر اول
کمانچه: امین ناصری
پیانو: سپند یکرنگ صفاکار

Fifth Portrait-Duet|پیکر پنجم-دوئت

I was born in Leicester in the late 1950's. Since semi-retirement and subsequent retirement (as a Dermatologist and formerly G.P) I have spent some of my spare time trying to learn music theory. I also enjoy long distance running as well as cycling, skiing and tennis. I enjoy cooking, gardening and growing a few vegetables. And fine wine (in moderation). I enjoy insect photography, with a particular interest in hoverflies..
To my regret I never learnt a musical instrument when younger but I have listened to and been fascinated by music for as long as I can remember. The advent of the computer age has allowed me to pursue my desire to compose music. I use Logic Pro X software (and MuseScore3 for recent piano compositions). My compositions reflect my varied listening preferences (including Contemporary Classical, Jazz and  Music from other cultures around the world).

[In/out] of Time Music for String Quartet and percussion

SFJ

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