first attempt at creating a miniature study piece based off of the Promethean scale/Mystic Chord (a la Scriabin).
أنطوان فرح وفرقة الموسيقى الشرق عربية - حلم من الشرق Antoine Farah & Oriental Arabic Ensemble Language : Instrumental Country : Lebanon Melodies : 01- Sama'i In Hijazkar Mode 02- Assakia (Water Spring) 03- Sama'i In Shattarban Mode 04- Darb Assayadi (Hunter's Way) 05- Ghazal (Passion) Sama'i In Rast Mode 06- Al Houlm (Dream) 07- Sama'i In Ajam Oushayran Mode 08- Al Masa' (Evening) 09- Sama'i In Zinkoulahmode 10- Shawk (Longing) Bashraf In Hijaz Mode
This is a short track in memory of all those whose lives have been cut short due to domestic acts of violence and terrorism.
I'll remember Jóhann Jóhannsson for saving my life a lot. 01. Odi Et Amo (»Englabörn«, Touch 2002) 02. I Am Here (Salve Regina) (»I Am Here« with BJ Nilsen, Ash International 2014) 03. Virðulegu Forsetar II (»Virðulegu Forsetar«, Touch 2004) 04. Fordlandia (»Fordlandia«, 4AD 2008) 05. The Cause of Labour Is the Hope of the World (»The Miners’ Hymns«, 130701 2011) 06. The Sun’s Gone Dim and the Sky’s Turned Black (Live) (»IBM 1401, A User’s Manual«, 4AD 2017 [Extended Reissue]) 07. A Song for Europa (»Orphée«, Deutsche Grammophon 2016) 08. The Stairs (»The Theory of Everything«, Music On Vinyl 2015) 09. End (Snowing) (»...And In The Endless Pause There Came The Sound Of Bees«, Type 2009) 10. Bað (»Englabörn«, Touch 2002) 11. Maria Driving (»I Am Here« with BJ Nilsen, Ash International 2014) 12. Flight From the City (»Orphée«, Deutsche Grammophon 2016) 13. The Great God Pan Is Dead (»Fordlandia«, 4AD 2008) 14. Melodia (Guidelines For a Propulsion Device Based on Heim’s Quantum Theory) (»Fordlandia«, 4AD 2008) 15. The Border (»Sicario«, Varèse Sarabande 2015) 16. The Tall Man (»Prisoners«, NTOV 2013) 17. End Of Summer II (»End of Summer« with Hildur Guðnadóttir and Robert A. A. Lowe, Sonic Pieces 2015) 18. Odi Et Amo - Bis (»Englabörn«, Touch 2002) A few words. https://docs.google.com/document/d/1Bqdf55EB9jWovtIJN6ayxCCI1imoGvXPosiRAUZBgDg/edit?usp=sharing
The first of what will probably be six movements of my new suite, Colours. The suite is for the 2018 Season Gnu Knew Music Ensemble. The goal of this piece was to try and describe a particular colour with the ensemble, this one being gold. Throughout the work, I use shimmering, brilliant, and rich textures and harmonies to describe it. Furthermore, because I love his music, interspersed throughout is a motif used by Henryk Górecki in the opening of his Symphony No. 3, Movement 2. I did the MIDI this time. It's rough, but it works.
Just a rehearsal of an old aria I used to sing a while ago.
Bernard Parmegiani’s 'De Natura Sonorum' is a monolithic twelve-movement work of electronic music, premiered in 1975. In this arrangement for sextet of the second movement, Accidents/Harmoniques, I have set myself the impossible task of distilling the infinite world of electronic sound into something reproducible by acoustic instruments. Such a process can hold a lens to the parent work to see it in a new way, be a means to discover new techniques and sounds in instrumental composition, and opens questions of reducibility: What are the essential features of a work? To what extent can we say that such a reproduction is ‘the same’ or of the same category of its source material? Commissioned and premiered by Standing Wave, 18 January 2018, Vancouver Symphony New Music Festival, The Orpheum. Recording by Brian Chan A video demonstrating the process is available here: https://www.youtube.com/watch?v=ztpaTl-4MOw
another sketch exploring the mystic chord and promethean scale theory
Recorded July 22 2017 on a phone in a practice room. This piece of free improvisation is dedicated to Geri Antoinette Allen Intro 0:10 - Part I/reverie 3:28 - Part II/counterpoint 8:03 - Part III/ostinato 10:56 - Part IV/nimbus 12:00 - silence 12:29 - Epilogue/Ask Me Now
A short song written for piano and string quartet, and "performed" by my computer as usual. My intention here was to cycle through three different modal scales, beginning with one that sounds (to me) more dark (phrygian), shifting into the more "intermediate" dorian scale, and then ending in the more cheerful mixolydian mode. As the type of scale shifts, so does the tonic, from F# phrygian to C# dorian (with some modifications) to G# mixolydian. Hope you enjoy!
String Quartet No. 1 in E Flat Major by Malek Jandali (http://MalekJandali.com) consists of six short movements that integrate Syrian folk melodies into a classical Western string quartet. Most of the thematic material is derived from the rich musical heritage of ancient Aleppo. Each of the six movements represents a traditional melody colored with unique harmonies and interesting rhythmic patterns. This unique combination is introducing a new vocabulary into the Western chamber music literature while preserving the beauty of the cultural identity of Syria. A solemn introduction, Moderato, transports us to ancient Syria and the rich musical heritage of Aleppo. The next Moderato is also based on a folk melody, although it possesses unexpected chromatic elements. The third movement is marked Vivo and consists of a traditional Syrian melody, which undergoes several variations with counterpoint. By contrast, the following Andantino in 5/8 is technically a little gem, with personality and grace in the melody. The dreamy slow movement, an Adagio, immediately creates a mood characterized by a melody in 5/4 (simplified from the original 10/8) and rich harmonic invention, clearly inspired by Jandali’s Syrian heritage. The impetuously energetic finale rounds off the work with the sounds of authentic Arabic maqams (modes), which demonstrates the extent of Jandali’s technical progress in writing for chamber music and his skills to fuse Syrian melodies in Western classical forms. This work was written in the summer of 2016 in New York City, at the time when Aleppo was being bombed and destroyed. The World Premiere was performed by the Apollo Chamber Players at Carnegie Hall on February 4, 2017. String Quartet No. 1 in E Flat Major I Moderato II Moderato III Vivo IV Andantino V Adagio VI Allegro Molto
Written for Bilkent Symphony Orchestra Conductor: Vladimir Ponkin Performed by Bilkent Symphony Orchestra- 03.02.2018 Unfortunately, some parts are not adequetly apparent because of both recording issues and limited rehearlsal time which naturally affected the quality of performance. However, I want to thank a lot to Bilkent Symphony Orchestra and Maestro Ponkin for their efforts and encouraging attitudes.