This Day Aria in 8-Bit, from season two, episode 26 of My Little Pony: Friendship is Magic.

Link to the YouTube: http://www.youtube.com/watch?v=hW0pvJkonYo&feature=c4-overview-vl&list=PLyrLMRPxFFJJ5RYZWnlY9eIk_TI9oJOH1

Original Composition by Daniel Ingram

Arranged by PerspectiveZero

My Little Pony; Friendship is Magic is property of Hasbro

Created using FamiTracker

This Day Aria 8-Bit

The Failure Song, from season 3, episode 1 of My Little Pony: Friendship is Magic.

Link to YouTube: https://www.youtube.com/watch?v=vHFi7kzEX9k&feature=c4-overview-vl&list=PLyrLMRPxFFJJ5RYZWnlY9eIk_TI9oJOH1

Link to Cover Art: 


Original Composition by Daniel Ingram

Arranged by PerspectiveZero

Cover Art altered by PerspectiveZero

My Little Pony: Friendship is Magic is property of Hasbro.

The Failure Song 8-Bit

Another 8-Bit original for the video game my friend and I are making.  Like the previous, this 8-Bit was made using the Konami VR6 Module on FamiTracker.

Cover Art by charzymon: 

Music Composed by PerspectiveZero

Arranged for 8-Bit by PerspectiveZero

Link to the original YouTube video: https://www.youtube.com/watch?v=8iQLSd8IDIY&feature=c4-overview-vl&list=PLyrLMRPxFFJKIKdLCnwvXnAHMk9PUd1x4

Castle Basement Theme 8-Bit (2012) - PerspectiveZero

Program Notes:

Somewhere among the many horrors that plague our everyday lives, grace and beauty never fail to exist within even the most dark and hopeless of situations. Graceful Horrors explores these dreads and dismays while continuously reminding us that one can find the joy, magnificence, pleasantness and peace within such trialing circumstances. Much like seeing the positive hidden deep within the horrific, one must listen beyond the dissonances and gnarly harmonies to discover the true beauty contained with its abrasive motifs. To effectively comminute these ideas, this piece draws inspiration from Modern- and Romantic-Era symphony orchestra compositions combined with forms, themes, modes and rhythms found within the characteristic sound of both doom and progressive metal.

Graceful Horrors was designed as a one-movement smaller work maintaining all the qualities and nuances found in longer complex symphonic works. Despite its intricate orchestration, this piece was designed to be played by a young ensemble without the need for full instrumentation. Each instrument section plays at minimum one of the
multiple themes and melodies or their variations during the course of the performance; everyone must take caution to balance appropriately to ensure the melody is always present in the overall mix of the ensemble. In order to be successful in performing this piece, students must pay particular attention to counting rests, especially during the pointillist sections at the beginning and at measure 24 as well as watch the conductor’s cues during the many caesuras, fermati and tempo changes throughout the piece.

Performance by the 2019-2020 Western Michigan University Wind Symphony

Graceful Horrors: Short Symphonic Work in G minor (2018)

Synopsis

The intent in recording this album was to preserve Coye Phillips’ voice, performance and his musical traditions reflecting his upbringing in the mountains of East Tennessee.  All songs were chosen by Phillips and reflect a wide range of country, folk, bluegrass and gospel music familiar to him and representing his life and legacy.  All tracks were recorded with consideration to clearly exhibit his voice and guitar performance.  All additional instruments and their roles were both dictated and chosen by Phillips.  Minimal audio editing was done to each track including some leveling and frequency equalization.  As a result, some additional extraneous sounds including some finger tapping on the guitar body were left in the mix as it contributes to Phillips’ guitar methods and the authenticity of his performance. 

Track List

"Intro Part I" - Coye Phillips (1945-2020)
"Intro Part II" - Coye Phillips (1945-2020)
"Lonely Tombs" - Hank Williams Sr. (1923-1953)
"Jesus Pilot Me" - Edward Hopper (1818-1888)
"House of Gold" - Hank Williams Sr. (1923-1953)
"Purple Robe" - David G. Wilson (b. 1940)
"Purple Robe, F# Version" - David G. Wilson (b. 1940)
"I’ll Fly Away" - Albert E. Brumley (1905-1977)
"How Beautiful Heaven Must Be" - George Jones (1931-2013)
"Mother’s Not Dead" - Charlie Monroe (1903-1975)
"Old Country Church" - John D. Sumner (1924-1998)
"Cabin on the Hill" - Lester Flatt (1914-1979), Earl Scruggs (1924-2012)
"Blue Eyes Crying in the Rain" - Fred Rose (1897-1954)
"Your Cheatin’ Heart" - Hank Williams Sr. (1923-1953)
"Lonesome Road Blues" - Nathaniel Shilkret (1889-1982), Gene Austin (1900-1972)
"Will the Circle Be Unbroken?" - A. Habershon (1861-1918), C. Gabriel (1856-1932)
"Bonus Track One" - Coye Phillips (1945-2020)
"Bonus Track Two" - Coye Phillips (1945-2020)

Credits
 
Lead Vocals and Guitar performed by Coye Phillips;
Double Bass, Acoustic Bass Guitar and Bass Vocals performed by Weston M-A Bernath;
Mezzo-Soprano Vocals performed by Yvonne Bernath;
Cover Art Photo taken by Yvonne Bernath;
Recording assistance provided by Yvonne Bernath;
All songs recorded, edited, mixed and compiled by Weston M-A Bernath.

How Beautiful Heaven Must Be

Purple Robe

Intro Part I

Amazing Grace - guitar and vocals performed by Coye Philips (1945-2020), double bass performed by Weston M-A Bernath (b.1995)

This was Coye Philips' last song recorded one year prior to his death on January 3rd, 2020.

Amazing Grace

Escaping Fate (2017)

I. Reality
II. Denial
III. Turmoil
IV. Resolution: Retaliation to Restitution

Performed by:
Carlos Lozano - Viola
Laura Acosta - Viola
Andrew Gagiu - Cello
Aiden Harmon - Double Bass

Original Composition by Weston M-A Bernath

Escaping Fate for Low String Quartet (2016)

An 8-Bit cover of Billy Joel's "The Longest Time" from his 1983 album, "An Innocent Man."

Arranged by and album art edited by Weston M-A Bernath.

The Longest Time 8-Bit

An original 8-Bit which sounds as though the listener is plunged into an entirely digital world.

Original composition by Weston M-A Bernath

Digital Emersion

A modified version of the Dungeon 8-Bit piece for solo double bass or cello to be performed live with a click-track and 8-Bit accompaniment.

Double Bass performed by Aiden Harmon

Dungeon: for Double Bass And NES 8-Bit Fixed Media (2017)

Severe Thunderstorm Warning

Program Notes:

Severe Thunderstorm Warning (2021) was created in response to my observations of the general public’s lack of acknowledgment of the warnings for severe thunderstorm activity issued by the National Weather Service.  This piece, composed entirely of audio radio from such warnings broadcasted via a NOAA weather radio, was designed to convey the many hazards and threats contained within these sudden thunderstorm events and enhance awareness of the actions that must be taken in order to minimize the impact to life and property.  From my experience, individuals tend to find tornado warnings as far more significant when the threats contained within a severe thunderstorm can be equally as destructive and over a far larger area.  To convey the message that tornados can be hidden within a severe thunderstorm without the specific “tornado warning” being issued, one can hear bits of mention of a tornado within the static and vocal cacophony of the final severe thunderstorm alter announcement.    
This piece contains severe thunderstorm warning alerts mostly from the Western side of Michigan, thus the locations mentioned in the audio will be most familiar to those living on the lower West side of the state.  Only the audio used from NOAA weather radio announcements was used in the creation of this piece.

Performance Notes

Severe Thunderstorm Warning is intended for performance in any venue on loudspeakers.  For added impact, play the piece during the spring, summer or whenever your region is most likely to be impacted by severe weather.

Fixed media piece for NOAA Weather Radio recorded sounds with processing 

Composed by: Weston M-A Bernath

Severe Thunderstorm Warning (2021)

After a long delay and months passing, it is finally done!

I am not sure what I will make next...I am open for suggestions for future 8-Bits
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Link to NSF File: http://www.mediafire.com/download/2wmv7o06aslvw02/What_My_Cutie_Mark_Is_Telling_Me_8-Bit_12.nsf

Link to Artwork: (To be posted later)

Tumblr: http://perspectivezeromusic.tumblr.com/

_____________________

Original Composition by Daniel Ingram

Arranged for 8-Bit by PerspectiveZero

Art Edited by PerspectiveZero

My Little Pony: Friendship is Magic is property of Hasbro

What My Cutie Mark is Telling Me

The Newton’s Cradle
For low string quartet

Approximate performance time: 7:00 

Instrumentation:
Viola I
Viola II
Cello
Double Bass*

Performer Position:

[Left to Right, audience perspective] Viola I, Viola II, Cello, Double Bass

Program Notes:

The Newton’s Cradle (2019) programmatically imitates the actions of a Newton’s Cradle where a steel ball bounces off of the surface of another steel ball in an exchange of kinetic energy.  The balls bounce back and forth, such as between instruments, or steadily bouncing until it loses all potential and kinetic energy.  Despite the loss in amplitude, the pace of the metallic crashes never slows, thus the near constant tempo throughout.  

A low string quartet consisting of two violas, a cello and a double bass, in contrast to the standard configuration of a string quartet, best suits the shifts in timbre through interplay in similar ranges.
The piece is designed to be short and pulse-driven throughout with few moments of silence and rest.  Development occurs through subtle changes in timbre as the notes shift position in each instrument and through changing in timbre through the pizzicato point.  The tempo must be maintained a constant 144 beats per minute in order to bring attention to the later shifts in tempo.

*Double Bass – A C-extension or 5-string is needed to play the low C1 at cadence points.  If neither of these are available, one can detune the E-string two whole steps to the low C; no other notes are played on the lowest string, thus the low tuning will not impede performance.

The Newtons Cradle, for low string quartet (2019)

Graceful Horrors: Elegant Atrocities
Short Symphonic Work in G minor

Originally Designed for Performance by the 2022 Beer City Winds

Approximate duration: 3:20-3:40

Program Notes:

	Somewhere among the many horrors that plaque our everyday lives, grace and beauty never fails to exist within even the most dark and hopeless of situations.  Graceful Horrors: Elegant Atrocities explores these dreads and dismays while continuously reminding us that one can find the joy, magnificence, pleasantness and peace within such trialing circumstances.  Much like seeing the positive hidden deep within the horrific, one must listen beyond the dissonances and gnarly harmonies to discover the true beauty contained with its abrasive motifs.  To effectively comminute these ideas, this piece draws inspiration from Modern- and Romantic-Era symphony orchestra compositions combined with forms, themes, modes and rhythms found within the characteristic sound of both doom and progressive metal.
	Graceful Horrors: Elegant Atrocities was designed as a one-movement smaller work maintaining all the qualities and nuances found in longer complex symphonic works.  This piece is the advanced version of Graceful Horrors, which was originally designed for grade 1 ½ - 2 intermediate band.  In addition to the increased complexity of the musical textures, greater part division, increased ranges, more percussion and a double bass part were developed for this version.  The form and measures align identically with the original piece, thus one can substitute parts as necessary to increase or decrease the difficulty for a specific instrument.  

Instrumentation:
 
1st Flute
2nd Flute
Oboe 
English Horn
Bassoon
1st Clarinet 
2nd/3rd Clarinet
Bass Clarinet
1st Alto Saxophone
2nd Alto Saxophone
Tenor Saxophone
Baritone Saxophone
1st Trumpet
2nd Trumpet
3rd Trumpet
1st Horn
2nd Horn
1st Trombone
2nd Trombone
Bass Trombone
Euphonium
Tuba 
Xylophone
Chimes 
Timpani – Tuning (low to high): G2, B♭2, D3, F3 
Drums – Snare Drum, Bass Drum, Suspended Cymbal, Hi-Hat, Crash Cymbal
Double Bass (amplified if desired)

Recorded live at the Beer City Winds July 26th, 2022 concert at St. Cecelia Music Center in Grand Rapids, Michigan.  Link to the performance: https://www.youtube.com/watch?v=ffvBTa-Z8_k

Graceful Horrors: Elegant Atrocities (2022)

This is a revamp of the Doctor Who Theme 8-Bit created a while ago with a faster tempo and over-all cleaner sound...

______________________________

Link to NSF File:

_______________________

Original Theme Composed by Ron Grainer; 2005-2007 Version by Murray Gold

Arranged by PerspectiveZero

Doctor Who is property of BBC

Doctor Who Main Title Theme 8-Bit Version 2.0

Graceful Horrors II:  Grotesque Lamentations 
Another short symphonic work in G minor

Originally Designed for Performance by the 2023 Beer City Winds

Approximate duration: 4:30-5:00

Program Notes:

Somewhere among the many horrors and vexations that plague our everyday lives, grace and beauty never fail to exist within even the darkest and hopeless of situations. Graceful Horrors II: Grotesque Lamentations explores the bizarre nature and oddities of such a mourning event.  The piece elaborates on the many complex nuances throughout the lamenting process as one navigates the full spectrum of human emotion during the grieving process.  A motif of triumph appears throughout the work as it fights its way to victory through the pain and grotesque nature of suffering.  Ultimately, we are reminded of the peace through reconciliation and the realization that the past is long behind us.  

Graceful Horrors II: Elegant Atrocities was designed as a sequel to Graceful Horros:  Elegant Atrocities (2022)continuing the themes and conceptual elements of the original work.  As with the previous work, one must listen beyond the dissonances and gnarly harmonies to discover the true beauty contained with its abrasive motifs. To effectively comminute its many affects present in the journey through grief, this piece draws inspiration from Modern- and Romantic-Era symphony orchestra compositions combined with forms, themes, modes and rhythms found within the characteristic sound of both doom and progressive metal.


Instrumentation:

1st Flute
2nd Flute
1st Oboe
2nd Oboe
English Horn
1st Bassoon
2nd Bassoon
Contra Bassoon 
1st/2nd Clarinet
3rd/4th Clarinet
Bass Clarinet
1st Alto Saxophone
2nd Alto Saxophone
Tenor Saxophone
Baritone Saxophone
1st Trumpet
2nd Trumpet
3rd Trumpet
1st/2nd Horn
3rd/4th Horn
1st Trombone
2nd/3rd Trombone
Bass Trombone
Euphonium
Tuba
Xylophone
Chimes
Timpani – Tuning (low to high): G2, B♭2, D3, F3
Drums – Snare Drum, Bass Drum, Suspended Cymbal, Hi-Hat, Crash Cymbal, Gong
Double Bass (amplified if desired)

Recorded live at the Beer City Winds July 20th, 2023 concert at St. Cecelia Music Center in Grand Rapids, Michigan. 

Link to the live performance:  https://www.youtube.com/watch?v=Mb6Ntd_32Ng&list=PLyty467P8zPURog_Oj532X_R0LUjIv4K5&index=4

Graceful Horrors II:  Grotesque Lamentations (2023)

Program Notes:

The Josh Ferguson Mix Tape (2016) was created as a result of a humorous project in the 2016 Lake Marching Band sousaphone section where we created “mix tapes” (rather original compositions) that embodied the dispositions of each of the members of our section.  This piece epitomizes the personality of my friend and colleague, Josh Ferguson, as it utilizes only sounds produced by him through voice, spoken words, body impacts and sounds produced by his sousaphone and sousaphone performance.  The sounds were processed and arranged in a manner that demonstrates his personality, activities and study.  

Throughout the piece, one will frequently hear medical terminology spoken as Ferguson was studying to be an oncologist.  The tuba sounds are representative of the escapades of our sousaphone section.  The meaning behind some of the phrases and sounds are known only to those who were in our sousaphone section that 2016 marching season.  

Performance Notes:

The Josh Ferguson Mix Tape is intended for performance in any venue on loudspeakers.  The ideal playback medium should be a cassette tape, which should be shown to the audience, inserted into the tape deck and the ‘play’ button should be pressed as part of the performance.



Composition by Weston M-A Bernath

Photo taken by Lacey Lehman.

The Josh Ferguson Mix Tape (2016)

As requested by chazymon, I arranged Piano Man by Billy Joel for 8-Bit.  Come follow me on Youtube for more...

YouTube (Piano Man 8-Bit): https://www.youtube.com/watch?v=I-PiAGsCkE8

Sorry about the file size, but the 24-Bit at 96,000Hz sampling rate is preferred by me way beyond standard MP3 16-Bit at a 44,100Hz sampling rate.

Original Composition by Billy Joel

Arranged for 8-Bit by PerspectiveZero

Created using FamiTracker

Piano Man 8-Bit

As a music theorist, composer, audiophile and teacher, Weston M-A Bernath seeks to explore his extensive interests spanning a number of disciplines beyond those of the sonic arts.  These explorations include geology, agriculture, environment protection, physics, engineering, psychology, sociology and history.  His primary life objective is to encourage all to expand thinking and consider and perspectives of all. 
 
Weston M-A Bernath received his Master of Arts in Music from Western Michigan University in 2020 where he studied music theory and earned his bachelor of music education and education at Grand Valley State University in 2018 where he studied double bass performance and composition.  His music theory interests include Twenty-first Century music theory analysis methods, creating new a collegiate music theory curriculum inclusive of a wider variety of musical styles and heavy metal music analysis.  His compositions often involve low-ranged instruments and low-frequency sounds, NES 8-bit chiptunes, metal band-art music fusion and compositions incorporating modern techniques intended for performance by middle and high school ensembles.

As of recently, Bernath has been actively applying for doctoral programs in music theory and composition.  Simultaneously, he continues to arrange music for young bands, teach private lessons in voice, guitar and piano, perform at local and provide audio support for local churches, compose new pieces and sustain employment as a teacher at Quest High School in Fremont, Michigan.

Weston M-A Bernath

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