Lazy Sunday CXLVIII: Four Mages, Part II

Today’s tracks are from my seventeenth albumFour Mages.  It is a collection of ten electronic tracks, all but one of which (“The Blind Prophet“) is color-coded. Each piece explores some facet of fantasy archetypes, weaving and casting a musical spell upon listeners.

Here are some platforms where you can listen:

I really enjoy this album, and I hope you will, too.  It’s about fourteen minutes in length, so it’s perfect listening for quick errands.

Of these, I think “Pink Princess” is the best, but I have a soft spot for “The Blind Prophet,” and “Black Mage” is just so sinister and mysterious.

Which is your favorite?

Happy Sunday!

—TPP

Other Lazy Sunday Installments:

Open Mic Adventures LXXX: “Purple Prince”

Today’s track is from my seventeenth albumFour Mages.  It is a collection of ten electronic tracks, all but one of which (“The Blind Prophet“) is color-coded. Each piece explores some facet of fantasy archetypes, weaving and casting a musical spell upon listeners.

Here are some platforms where you can listen:

I really enjoy this album, and I hope you will, too.  It’s about fourteen minutes in length, so it’s perfect listening for a short commute.

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🧙‍♂️Four Mages🧙‍♂️ Out Today!

Today is 2 May 2024, exactly twenty-six weeks to Halloween!  What better day to release my latest collection of compositions, Four Mages?

🧙‍♂️Four Mages🧙‍♂️ is a collection of ten electronic tracks, all but one of which (“The Blind Prophet“) is color-coded. Each piece explores some facet of fantasy archetypes, weaving and casting a musical spell upon listeners.

It’s $5 on Bandcamp, and is also available on all major (and minor) streaming platforms except for Spotify.

I’m quite excited for this release; I hope you enjoy it as much as I enjoyed composing it.

Happy Listening!

—TPP

Open Mic Adventures LXXVIII: “Robobop”

For this week’s edition of Open Mic Adventures I’d like to feature the opening track of Leftovers II, which you can find it at the following sites:

If you like 1950s rock ‘n’ roll and robots, you’re going to love “Robobop“:

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SubscribeStar Saturday: Heptadic Structure

Today’s post is a SubscribeStar Saturday exclusive.  To read the full post, subscribe to my SubscribeStar page for $1 a month or more.  For a full rundown of everything your subscription gets, click here.

Yours portly took a brief break from composing to catch up on some other work, but I’m back to composing, albeit not with quite the same intensity as during the late winter months.  I released Leftovers II earlier this month, and Four Mages is coming very soon (2 May 2024).  I’ve also completed a funk album, Advanced Funkification, which is coming on 7 June 2024.

If you’d like to listen to Leftovers II, you can find it at the following sites:

I figured that was a pretty good slate of releases, and that I might take a rest.  But then I started jotting down a little melody in the incredibly rare (and, admittedly, self-indulgent) time signature of 7/16:

Heptadic Structure Prewriting

What resulted was the piece “Heptadic Structure.”  The piece itself is exactly twenty-one written measures (although it’s technically longer with repeats).

That gave me an idea:  if I wrote seven pieces in 7/X time consisting of twenty-one measures each, I’d have a total of 147 measures of music.  14 + 7 = 21.  There’s a beautiful mathematical symmetry there.

Why 21?  It’s the multiple of 3 and 7.  Three represents the Holy Trinity; seven is God’s Number, a heavenly number.  So 21 is a reference to the Trinity and Heaven.

I came upon the term “Heptadic Structure” when looking for a title for this piece.  Apparently, the concept of a heptadic structure is nothing new, and is a major concept in the rather esoteric field of Biblical numerology.  The argument is that various portions of the Bible breakdown in mathematically consistent and beautiful ways, always with the number 7.  It’s a fascinating concept, one about which I only possess a passing familiarity, but I love these mathematical structures.  Maybe it’s all a grand coincidence—or, more likely, it’s all part of God’s Grand Design.

To read the rest of this post, subscribe to my SubscribeStar page for $1 a month or more.

Open Mic Adventures LXXVI: “Black Mage”

I’m still promoting my latest release, Leftovers II, but I’m also excited for my next album, Four Mages, which releases Thursday, 2 May 2024.  Of course, if you’d like to hear Leftovers II, you can do so at the following places (and probably more):

Today, however, I’d like to look at the fourth of the Four Mages, the dreaded “Black Mage.”

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April 2024 Bandcamp Friday

Today is Bandcamp Friday!  That means Bandcamp waives their share of any purchases made on my Bandcamp page today (Friday, 5 April 2024), so it’s the best possible time to buy my music if you want to support yours portly.

Earlier this week I released my sixteenth Bandcamp albumLeftovers II.  It consists of tracks leftover from other composing projects, as well as two older pieces (“Robobop” and “Pwrblld [Ballad II]“) and a lo-fi organ piece I recorded using an old computer microphone sometime in 2007.

You can listen to the full thing on Bandcamp for free a few times before Bandcamp locks out full track playback.  However, if funds are tight and you’d rather not pay $5 for the album (which you should totally do anyway—it’s just five bucks!), you can listen to the album through the following services:

Thanks for listening!  Even just streaming helps me out a great deal.

—TPP

Leftovers II Out Now

My third release of the year, Leftovers II, is out today.  It consists of two previously-released tracks; four new pieces “leftover” from other projects; and an eight-minute organ solo I played on a keyboard and recorded using a crummy computer microphone seventeen years ago.

I have two other releases in the pipeline, Four Mages (releasing 2 May 2024) and Advanced Funkification (releasing 7 June 2024).  Four Mages is a collection of fantasy-inspired pieces, and Advanced Funkification is a funk album.  Some of the tracks on Leftovers II were composed while I was working on these other two releases, but they didn’t fit the “vibe” of either, so I decided to put together this collection.

In addition to Bandcamp, you can listen to Leftovers II on most every streaming platform, except for Spotify.  I’ll have full links up this Friday for Bandcamp Friday‘s post (I’m writing this post before the album hits streaming platforms, so I don’t have full links yet), but here are links to the relevant pages; you can navigate to Leftovers II from there:

Again, I’ll have a more complete list of streaming links Friday.

In the meantime, happy listening!

—TPP