Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week I’m sharing a piece that’s a bit of a Celtic jig.
Last Sunday I linked to posts vaguely about and/or related to Scandinavians; today, I look at the French:
Happy Sunday!
—TPP
Other Lazy Sunday Installments:
Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week’s features the first track I wrote for the release. My Middle School Music Ensemble students helped me decide upon the name, which sounds rather toothsome:
Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week’s has the most ridiculous title of any piece I’ve ever composed: “Skiddle-Diddle-Diddle-Dee (Dit-Dit-Dit)”:
Apparently, I failed to make videos for all of the pieces on Leftovers IV. Indeed, I neglected to upload a lot of the goodies that I usually include with digital purchases of albums; that has now been rectified.
So I am back to looking at some tracks from that short EP. This week’s is one of my favorites: “The Magic Forest.”
I’ve been composing quite a few trios lately, as I’ve been playing around with blending three of the same sounds. This week, I’ve got a fun little marimba piece that sounds very much like a cellphone ringtone.
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I’m continuing to dig up ancient MIDI compositions (now converted to glorious, lossless WAV files) from twenty years ago (give or take). This weekend I’m sharing some digital saxophone compositions with readers.
I probably intended these pieces to be played by an actual saxophone quartet/quintet/sextet at some point. I played in a saxophone quintet in high school (two altos, two tenors, one bari) and a saxophone sextet in college (I can’t recall the exact instrumentation, but I think it had soprano, two altos, two tenors, and one bari), so I did quite a bit of arranging and composing for those groups. I also arranged a ton for Brass to the Future, the brass quintet (with saxophone) that my brother and I played in for a number of years in the early 2010s.
Now they exist as ghostly digital instruments, honking and squawking through the musical musings of a plump young Portly with a head full of dreams and a belly full of Cheez-Its.
I’m not sure what the original title for this piece was meant to be, but I do remember wanting to emulate the sound and rhythms of a 1970s classic rock organ in the context of a saxophone ensemble. “Saxophonic Organ” is the result of that experimentation, and I rather like it.
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I’ve been composing quite a few trios lately, as I’ve been playing around with blending three of the same sounds. This week, I’m featuring a particularly flamboyant effort.
Earlier this week I posted one of my recent compositions, “Clarinetti” (the Italian plural for “clarinet”), and I’ve composed quite a bit for the instrument over the last year; as such, I thought I’d cast a glance back at some pieces that feature, or at least use, clarinet:
Squidward would be pleased.
Happy Sunday!
—TPP
Other Lazy Sunday Installments:
I recently uncovered a bunch of old music I wrote during a period spanning from roughly 1999 through probably 2012. Today’s piece is not one of those pieces, but I’ll soon be highlighting some of my super deep cuts here. If you want to hear one piece—recorded with me playing real instruments, not computer ones!—check out this past Saturday’s post.
Today’s piece is another digital piece, composed in Noteflight. I’ve been writing a lot of trios lately, and have been experimenting with getting three of the same instruments to blend without sounding too boring. I’m not sure if I have succeeded, but this week’s piece is a stab at it.
The Portly Politico 