Lovely atmosphere and playing on this. Lyrics might be a great addition.

Nice guitar performance and i really like the melodic bass line. Very cool stuff

Nice guitar dreamy sound, relaxing melody

Soothing melody. Really well played and recorded

Very well put together and some lovely sweet touches in there - great musicianship - well done

Really beautiful guitar part and melodies

What Is This?  SoundCloud Pre-release (released to rest of streaming on March 26, 21)
• Tim Graves: guitar, synths, programming, vocals
• Brad Palmer: drums
• Ryan Anderson: bass
• Charlie Blu: vocals
• Chad Bell: trumpet
• Recorded in Oakland, Akron, Chicago and Nashville 
• Mastered by Stephen Marcussen

What is This

What Is This?

Le long de la corniche

WHISPERING WOODS - Acoustic Folk Instrumental

Harbor - Acoustic Folk Instrumental

The Best Love for the Lord - Instrumental Guitar

Eating Variations
for Baritone Voice and Chamber Quintet (Baritone Voice,  Flute, B-flat Clarinet, Violin, Cello, Percussion)
Duration: 9' 
Text by Ron Singer
Performers: American Modern Ensemble; Robert Gardner, Baritone
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&products_id=1109
Online Perusal Score: https://issuu.com/robertpaterson/docs/eating_variations-fs-bound_perusal
For More Information: https://robertpaterson.com/eating-variations

PROGRAM NOTES
Eating Variations is based on a series of witty poems with the same title by Ron Singer. The work as a whole is essentially a satire on food faddism and depicts different aspects of eating. The way I chose to set these poems is light-hearted, perhaps lighter in spirit than Singer originally intended, but with a serious, dark side.

The first movement, My Body, a Temple, incorporates the sounds of Tibetan Singing Bowls (also called Temple Bowls or Cup Gongs) and is loosely, harmonically inspired by Khöömei, or Tuvan Throat Singing and David Hykes’s Harmonic Choir recordings; both of whom use a style in which the singer produces overtones on top of the fundamental notes. Perhaps mercifully, I do not require the baritone to use this technique, but instead, use the flute to produce false overtones in a couple of spots.

In the second movement, The Hog, the instruments mimic pig sounds with scratchy, grunting noises from the violin and cello and clarinet multiphonics. A round-sounding whole-tone scale is used and there is a Polka-like accompaniment in the percussion.

The third movement, Even the Dyspeptic Must Eat, uses upward and downward runs in the bass clarinet to impart a roller coaster-like sense of Gastroesophageal Reflux Disease, a condition in which there is recurrent return of stomach contents back up the esophagus. This is reinforced with a slow, background groove in the drums.

The cello part in the fourth movement, The Dietary Moralist, is inspired by Dave Eggar, a cellist who can play his instrument like a guitar and sing at the same time. In this movement, I ask the cellist to play in a somewhat folksy style and sing out of tune back-up vocals—to me, reminiscent of a 1960s musical Hippie Sit-in. The main vocalist is backed by the well meaning but out of tune "band." To paraphrase an interesting email exchange with Singer, we agreed that in this context, the vocalist might represent a contemporary version of a certain species of 60's hippie—say, a particularly zealous fair trade coffee purveyor, and that this Malvolio type is singing along with a group of kindred spirits. This movement is not a literal portrayal of the text, which is quite serious in tone, and stretches the meaning more than the other movements. Perhaps my interpretation may instead be viewed more as commentary on the text.

In each passing decade, people are sure of their eating habits, and the carefree, assured, commercial America of the 1950s was no different. In the last movement, The Happy Medium, I envision a father-like doctor figure squarely explaining to a patient how to eat. The perky background music is meant to evoke a 1950s TV commercial, or perhaps a short, black and white educational grade school film.

Winter Songs

Eating Variations - V. The Happy Medium

Sonata No. 1 for Violin and Piano
Duration: 20'
Publisher: Bill Holab Music: http://www.billholabmusic.com/store/index.php?main_page=product_info&cPath=103_137&products_id=1107
Online Perusal Score: https://issuu.com/robertpaterson/docs/sonata.i-vln.pno.-fs-bound-perusal
For More Information: https://robertpaterson.com/sonata-no-1-for-violin-and-piano

PROGRAM NOTE (SHORT VERSION FOR PROGRAMS)
The first movement, Adagio – allegro con uno trotto – adagio begins and ends in a somewhat Romantic style, but with a twist: the end of the movement sounds like a record scratch, as if what you just heard is a track from an old vinyl LP. I became fascinated with the sound of record scratches when I noticed them in many commercials, although this is somewhat ironic since no one really plays records anymore.

The imaginary title of the second movement, Schizando (derived from ‘schizophrenia’) is a word I came up with to describe a musical style centered on fast, abrupt changes. This movement also reveals an obsession with sequences: sequence-like chord patterns decay by gradually becoming more dissonant as they evolve. These sequential sections alternate with “siesta daydream” sections, akin to channel surfing with a remote control. I was recently on the road for two months with my wife Victoria while she was touring, so on a personal level, traveling on the road to a different hotel every week probably influenced how I wrote this movement. We were never in the same place for very long and many of the hotels looked the same. Our lives were not that dramatic. I started craving drama, particularly in the music I listened to, and this probably spilled over into how I wrote this movement.

The third movement, Largo is slow and broad and inspired by the phrase "the weight of the past." There are time markers that delineate certain sections, reminiscent of the ticking of a clock. There are a number of composers whose works influenced me in this movement, such as the later works of Arvo Pärt and the slow movements of some of Beethoven’s sonatas. I was also pre-occupied with wanting to write a movement that contained mostly “open” notes, i.e. half notes, whole notes and double whole notes.

My main influences for the last movement, Allegro con moto are the early formal ideas of Igor Stravinsky, folk-style fiddle playing and jazz. There are a few false starts when piano chords come crashing down and a few somewhat humorous sections. Many of the themes from the previous three movements reappear in this movement.

As with many of my earlier works, my goal was to create a four-movement work in which all of the movements are quite different from each other. In a sense, I view this multi-stylistic approach as the result of wanting to embrace a variety of tools. As a result, as I wrote this I did not have an allegiance to any one particular style, as each one hopefully elicits a certain, distinctive emotional response.

Joy: Music for Violin and Piano

Sonata No. 1 for Violin and Piano - I. Adagio, Allegro Con Uno Trotto, Adagio

Sonata No. 1 for Violin and Piano - I. Adagio – allegro con uno trotto – adagio

The tale of a slow bus journey to work one morning when I wasn't feeling very good about my job at the time in particular and life in general. With hindsight, I was having a bit of a panic attack. These women on the bus just didn't stop talking shite all the way and I just couldn't 'tune out' in the panic. Everything was winding me up. Every spot of rain, every sneeze, every cough. I like the tune and sound of the guitar more than the lyrics.

Michael Murray's Album

726 (The Falling)

#micahthunder #thundertribe #visualizer

Official Single "Here I Am" by Micah Thunder. Produced by @Edgar Wonder 
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Lyrics:
Do not live for tomorrow
Today is gone
Dead and gone
My soul lingers on

Searching for a reason
why the days will pass
good times will not last
life goes by so fast

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends

I’m searching
For purpose
Can’t find my way
Don’t know if I’m worth it

It’s so dark
I’m so tired
Searching for a spark of life


Don’t Worry
You’re Perfect
Coming up so fast
It makes me nervous

Let’s dance
let’s smile
a miracle is worth my time

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends
 
how this grows
how this goes
How it ends

I can be your man
I’ll do all I can
help me understand 
give you all I am
You can be my woman
Help you grow
Show me what lovers know
You won’t walk alone

You got what I need
what I want to see
In this world
Oh no,
We know how this goes
We know how this grows
and How it ends

© 2021, Micah Thunder, All Rights Reserved

HOW IT ENDS - MICAH THUNDER

House Of Thunder An EP Story

Dancing Gypsies

The Continuum II Linear Thoughts

Love

( currently open to collaboration if i like your stuff hit me up i will respond 100% )

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a Portrait

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