tag:blogger.com,1999:blog-63702777184550014082024-03-20T04:09:48.794-04:00Andy DiGelsomina: Heavy Metal Maestroandyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-6370277718455001408.post-16167698222665713582023-03-27T15:01:00.001-04:002023-03-27T15:01:25.813-04:00DiGelsomina "Mahanaim"<p><span style="font-size: medium;"> Dedicated to my adored wife and chief Inspiration, Cheryl.</span></p><p><br /></p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/tbnY6BzKLhg" width="480"></iframe></p>andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-50857322663358004892021-05-15T05:13:00.000-04:002022-03-16T11:45:55.536-04:00Palace GuardThis is an early example of my use of the <b>Serial Vignette</b> style, which involves the laying out of musical "scenes" in a quasi-cinematic way. Due to this being an earlier composition, "Palace Guard" was mostly aligned with the classic heavy metal style, however it's interesting to hear how the building/lead guitar part stops on a dime and goes into a far more lush, lovely orchestral setting. At first I worried that people would be permanently put off by the abruptness of the transition, but I left it like that because...well, we're talking about black-armored Mer-men and women plunging headlong into battle, singing their song. Some degree of recklessness should be allotted :)<br />
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I've had Lyraka friends ask me about that cockeyed, abstract solo after the symphonics, and a few heard Allan Holdsworth-isms in it (maybe for its "outside" sound). Count me as a fan of Allan, but I think it was more a shared, Bartokian headspace. Bartok's compositions were really being played a lot by me at the time (String Quartets 2 and 4 in particular), and wanted to play something quirkily expressive on the guitar. I notice now that section's backing sounds a bit like the Assault Attack/Into the Arena slow arp, pretty obvious how that happened...and how strange to have such an "off" solo over that backing. <br />
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But that one, abstract solo was the foreshadow of things to come: intensified self-expression and thinking-outside-the-box.<br />
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-60693556105266125882020-05-16T22:52:00.000-04:002020-05-16T23:01:43.174-04:00Entombed By Choice<div style="text-align: center;">
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Quote from composer Andy DiGelsomina, composer and lead guitarist of this song: "I dedicate the lead guitar solos to my little brother Stephen Simonelli, who passed away in 2013, RIP...I'm sorry and I love you, Stevie". </div>
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All music, lead guitar, lyrics © 2020 Andrew Neires DiGelsomina. Vocals by Robert Lowe. Co-produced by Andy DiGelsomina and Andre Maquera. Mostly recorded at West Street Digital. Rhythm Guitars: Andre Maquera; Bass: Thom Carvey; Drums: Gary Spaulding.</div>
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-54654825842945746292019-09-30T17:46:00.000-04:002022-08-10T16:37:50.372-04:00"Gnashing" with Opera Vocalists<ol>On this version of "Gnashing" we worked with opera singers Nichole (Soprano) and Brian (Tenor). Note the polytonality of the composition, with hyper-compressed harmonic layers superimposed over the original. Here the multi-layering (in the form of manifold, clashing tones) serves to emphasize the rhythm, subtly propelling the piece into a dirge.
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<br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-64646735194905318962019-09-29T07:12:00.000-04:002020-06-27T10:09:02.737-04:00Symphony No. 1, Mvt. 3This isn't the final mix, but very close, and plenty enough to get the ideas across. This movement started out as a piece for a string symphony, but midway during composition I realized I needed a very large orchestra and set of synthesizers to most faithfully represent my vision. <br />
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Forgive the overall sound, as this hasn't been subject to a final mix and master yet, it's just there to give fans an idea of the piece. <br />
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All music and lyrics © 2015 Andrew Neires DiGelsomina<br />
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<br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-48386715413561195012019-05-23T11:00:00.000-04:002019-05-25T21:08:59.313-04:00Symphony no. 2 Mvt. 1 <span style="background-color: transparent; color: #f3f3f3; display: inline; float: none; font-family: "times" , "times new roman" , serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Completed May, 2018.</span><br />
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<b><i>PER ASPERA AD ASTRA!</i></b><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #f3f3f3;">This is the final arrangement and orchestration of a piece I composed during Summer 2017. Lyraka fans will note that this movement is to an extent an elaboration on my "Errandia" motifs from Lyraka Volume 1.</span></span><span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #f3f3f3;">This symphony employs the use of over 120 musicians, including not-yet traditional instruments like synths and electric guitars (much more the former). So, I doubt there's much here to interest a more casual Rock/Metal listener, but the more immersion-seeking listener will assuredly find plenty to like. </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="color: #f3f3f3;">Perhaps best listened to through good headphones (I recommend Sennheiser), where you'll find it easiest to reap new rewards with each listen. </span></span><span style="color: #f3f3f3;"><br /></span></div>
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<span style="color: #f3f3f3; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> All music and lyrics © 2017 Andrew Neires DiGelsomina</span></div>
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-86992442007844728452019-03-29T02:00:00.000-04:002019-12-15T11:58:57.520-05:00Symphony no. 1, Mvt. 4<h3 style="background-color: transparent; color: white; font-family: Times New Roman; font-size: 16px; font-variant: normal; letter-spacing: normal; margin: 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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I really appreciate Dee-ter's vocal here. At first I had a hard time getting past the use of someone else's lyrics, however Wilhelm Müller's words struck a despairing chord within me and fit the music perfectly.<br />
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Apparently Schubert felt the words too, at the time of his writing the Winterreise he had been informed of his eventually lethal syphilis contraction.<br />
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At the risk of beating the point into the ground, the famous mezzo-soprano Elena Gerhardt once said of "Winterreise" that "you have to be haunted by this (piece) to be able to sing it."<br />
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You can hear the employment of my Serial Vignette method of composition, plus the mix of traditional and electronic instruments. Though the "Lindenbaum" lyrical setting intensifies the feeling of gloom and dread during Dieter's vocal part, the movement is multi-dimensional.</div>
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The lyrics are Herr Müller's, which are public domain. The vocal melodies are chopped up samples from Diskau's old performance, while all other music is © 2017 Andrew Neires DiGelsomina. All rights are reserved, any infringement upon this copyright will be prosecuted to the fullest extent of the law.<br />
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<br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-41087620096571976582019-03-19T10:56:00.000-04:002019-12-15T12:01:25.994-05:00Symphony no. 3, Mvt. 2<br />
Now that this movement is compositionally completed, I feel a sense of triumph. Love is the hero.<br />
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I've only come up with working lyrics for the choir beginning at 1:02 of the movement; these are obviously <i><b>far</b></i> from final from all perspectives; they simply illustrate what I'm aiming for with this movement as far as Weltanschauung goes (any political incorrectitude is due to my using Schiller's words to Beethoven's 9th Symphony as an inspiration). <span style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline !important; float: none; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">I came up with lyrics for this piece after this demo, so the choir is just vocalizing for now. </span><br />
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"Let's all work together toward a world-loving world and<br />
then we'll all love each other, more than friends we're all brothers.<br />
Let's plan a future where we all join as one then we'll<br />
all know the happiness of bless'd nature's sons." <br />
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">All music and lyrics<span style="background-color: transparent; color: #222222; display: inline; float: none; font-family: "arial" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> ©2018</span> <span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Andrew Neires DiGelsomina, plagiarists will be prosecuted to the fullest extent of the law.</span></span>andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-65221908081300480222019-01-01T10:13:00.000-05:002020-01-18T14:17:54.885-05:00Symphony no. 4 Mvt. 2<div class="separator" style="clear: both; text-align: center;">
Adding guitar, will be back!</div>
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<span style="text-align: start;">All music © 2019 Andrew Neires DiGelsomina</span></div>
andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-12643014409981423322018-07-08T07:37:00.000-04:002020-06-27T10:10:36.596-04:00Symphony no. 1, Mvt. 5<b><br /></b>
Note the extensively embroidered, hybrid composition here, as well as more of my <b>Serial Vignette</b> compositional technique. Though the instruments have been woven together, there is a strong modular side to this composition, evident not just from the overlapping (and at times exclamatorily interjecting) parts, but in how factors such as, say, effects are arranged, automated, and so much more. I paid lavish detail to those and other factors, in order to most faithfully represent what I heard in my head. <br />
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The presence of aleatoricism is evident not only in the transitions and rhythms, but to some extent in the sequencing. Of course, overall this is purposeful composition and orchestration, but happy accidents are the meat and potatoes of both the Serial Vignette and Aleatoric compositional styles (not to mention musical performance), and were as always welcomed both during the composition of the piece and its initial rehearsals. <br />
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Finally, it was important for me to express a multi-dimensioned listening experience. The sense of depth and distance is just as much achieved through predelay on a good reverb as well as hyper attention to volume and panning automation.<br />
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The initial set of themes came to me in a rush of inspiration, and from that point I couldn't stop writing.<br />
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All music ©2015 Andrew Neires DiGelsominaandyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-23815315356219600052018-05-17T13:32:00.000-04:002019-10-01T07:31:57.269-04:00Music For Woodwinds and Brass no. 3Completed 5.29.19.<br />
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</span>andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-43153904380093011432018-03-19T06:52:00.000-04:002020-01-22T13:26:59.544-05:00Symphony no. 3, Mvt. 3 Scherzo (Variations on a Keim-Motiv)The main theme (a classic Keim-Motiv) is so familiar and friendly, but what I really liked was how much I could do with from precisely that motivic perspective. Composers like Beethoven (and Bernard Herrmann, for that matter) were masters at taking small musical statements and doing all kinds of wonderful, implosive/explosive, expansive/compressed things with them; the Keim-Motiv itself providing a distinction-engendering glue to the sound of the piece overall. <span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span><br />
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</span></b><i></i><u></u><sub></sub><sup></sup><strike></strike></span>andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-31702826307132644672018-03-08T08:54:00.000-05:002018-05-16T08:30:08.581-04:00Help For Victims of Toxic Family Members<div data-block="true" data-editor="ejkmh" data-offset-key="a4gjr-0-0">
<div class="_1mf _1mj" data-offset-key="a4gjr-0-0">
<span data-offset-key="a4gjr-0-0"><span data-text="true">I continue to be the victim of a toxic father, and in the interest of both purging myself and trying to do anything I can to help others I feel compelled to put this up. The most tragic part of dealing with a toxic parent is the fact that such toxicity never goes away, the person in question will always fall back on his or her ways, attempting to pull you into their own, poisonous black hole of self-unforgiveness and hate. This organization is one well worth supporting, at times it's been like a life preserver for me. One of the things I learned from it is how to try and not let my heart get in the way too much; that there is truly no other choice in the matter but to ultimately leave that person out of my life, a decision that might even work toward my father's good as well. </span></span><br />
<span data-offset-key="a4gjr-0-0"><span data-text="true"><br /></span></span>
<span data-offset-key="a4gjr-0-0"><span data-text="true">The last is important because I DO still love that person...even if my closing him out of my life seems cruel, even if I'm just telling myself it's for his good as well as mine,..then at least I can get on with my own life, and this site helped me understand that there's nothing wrong with that. Most of all, I hope no one has to go through the rejection and abuse my little brother and I did. It's horrible to experience contempt, vicious physical and emotional abuse, and rejection from someone who helped bring you into the world, I wish it upon no one.</span></span></div>
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-28091405248842352112018-03-05T14:54:00.000-05:002020-01-22T11:23:37.297-05:00Wagner's Der Ring Des Nibelungen: The Levine DVD Set at the MetI'm writing this review as a Wagnerian that wants others to discover and enjoy Der Ring Des Nibelungen for the amazing work that it is. I feel that the best way to do this is to first see the opera in its traditional interpretation (or something at least closely approximating such). A dvd can come in handy, as paying to go see the opera itself could be too much for the novice, for many reasons. I personally had to start out with sequential parts of the opera, otherwise I would have been ultimately both overwhelmed and scared off. I was eventually able to watch longer and longer, and found my attention span expanding accordingly. My "bloody chunks" method might not work for some, but I just wanted to give the neophyte an idea of how to approach Wagner without being turned off at the start by the size and length of the operas. With a dvd an initiate always has the option of turning off, tuning in, rewinding, etc<br />
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Der Ring Des Nibelungen is, in my humble opinion, the greatest work of art in
Western history. There is no other work that integrates so many different
artistic mediums, characters, and situations into such a comparatively cohesive whole. Let me digress a bit by giving going into what constitutes great Art.<br />
<br />
My definition of great Art is that it not
only inspires, but can actually make a person learn something <em>about</em> him or
herself, and/or the world around. In the case of the Ring, the main thrust is provided by the
music, but the allegorical nature of the plot, characters, and situations point toward
deep, self-revelatory archetypes. In fact, it could be asserted that the truly great artists all touch upon inherited psychological characteristics in what Carl Jung referred to as the Collective Unconcious, archetypes that help connect the psyches of every man and woman, regardless of political orientation. In Wagner's case, it becomes obvious upon study that he meant his late operas to be interpreted with such a mindset.<br />
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Like any Art, fully appreciating the Ring
takes a conscious, willed effort. One has to actually learn the musical language
that Wagner created. But I must emphasize that one's efforts will be rewarded.
Just like reading Dickinson, admiring Raphael, listening to late-era
Beethoven...Art pays off over and over again as one lives with it, grows with
it.<br />
<br />
So let's start the
actual review:<br />
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There are two dvd sets that are generally considered the
most valuable among Ring performances: this one and the one conducted by Pierre
Boulez. I personally started with this one, and I'm glad that I did. It might
just be personal preference, but I think that if I had started my Wagner
experience with a non-traditional staging of the Ring, like Boulez's I would
have been very put off. Seeing this traditional performance first helped me alot
with getting my mind right with the work itself.<br />
<br />
This Metropolitan Opera
performance of the Ring has its share of problems. The middle section of Das
Rheingold, as well as the majority of Act I of Gotterdammerung, are seemingly
conducted through molasses. James Levine, obviously a very notable conductor
overall, seemed to fall asleep during these sections, which is extremely
unfortunate considering the fact that they are two sections most in need of
conscientious conducting. The outstanding performances of singers James Morris
and Crista Ludwig can only shine so much when led by a
sleepwalker.<br />
<br />
Overall, Levine seems to get swept up and inspired by the
rushing, "heavy metal" parts of the Ring, but he seems just plain disinterested
during the parts that require more care, subtlety. The exceptions to this
general rule are both the excellent awakening-of-Brunnhilde scene in Act III of
Siegfried, as well as the better-than-average Siegmund and Sieglinde scene of
Die Walkure.<br />
<br />
James Morris' perfomance as Wotan steals the show here, he
is by far the most impressive Wotan in recent history. His voice has certain
idiosyncracies that refine the role and make it his own, not to mention his
tall, imposing physical presence. As a basis of audio/video comparison, Donald
McIntyre (from the Boulez Ring) stands up well in overall quality to Morris from
both a singing and acting standpoint, but the former just can't compete with
Morris' less anonymous vocal delivery, not to mention his physical presence.
Morris makes the Wotan role HIS in a commanding way.<br />
<br />
Siegfried
Jerusalem makes a very good Siegfried here, though his acting sometimes puts a
"duh" veneer to the character that wasn't Wagner's intent. That is, at times
Jerusalem's portrayal tends to veer from the "brash, arrogantly ignorant"
portrayal of Siegried meant by Wagner, to an outright, unlikably stupid dolt.
This applies only to certain points in his performance, as the Heldentenor mostly does a good job, especially from a singing perspective.<br />
<br />
Hildegard Behrens' Brunnhilde is quite good as well, she
only falters when she tries too hard. To be more specific, at times she seems to be
straining, and not just during the super high notes.<br />
<br />
On the other hand, both
Behrens and Matti Salminen (as an outSTANDING Hagen) make for an powerful
Gotterdammerung Act II. In fact, this act is worth the price of the dvd set by
itself. One has to see it to believe it. This might just be the best performance
of this act in filmed history, full of all the Germanic gang roars, hell-hath-no-fury scorn, subtle humor, and charismatic drollery that is integral to the piece. Everything seems to click into place with this, the last part of the opera, and it's done so well it redeems the cycle as a whole.<br />
<br />
Bottom line, this is the best you can do
for traditional staging of the Ring on dvd. I'm personally really grateful I
myself started out with it. Don't hesitate to pick this up if you're new to the Ring,
or Wagner, and it must be brought up that the traditional staging is going to be by far the most user friendly for the Heavy Metal fan, the costumes, staging, an emphasis on the heroic that most certainly is shared by the musical performances...you <em>want </em>this metal heads!<br />
<br />
As an important sidebar, I must reccomend also to the neophyte the Georg Solti-conducted cd
set for the best overall studio performace of the Ring. And you'll eventually
want the Boulez/Bayreuth Ring dvd set as well, not just because many of the
faults existent on the Levine aren't on the Boulez, but because the Boulez is an
often superb performance dvd on its own. <br />
<br />
Finally, I heartily reccomend a good libretto/concordance (there's one co-edited by Barry Millington that works really well), and it can't hurt to check out some of the different perspectives on the allegory inherent within the opera. Robert Donington's Jungian take, "Wagner's Ring and Its Symbols", is interesting and often helpful, and philosopher Bryan Magee has contributed some marvellously lucid, jargon-free exegesis of the Wagner repetoire. I myself have begun a site analyzing The Ring, though unfinished you might find some helpful insights there:<a href="http://lyraka.com/ourfatherofmetal/hisgreatestoperas.htm" target="_blank">http://lyraka.com/ourfatherofmetal/hisgreatestoperas.htm</a> This multi-experience approach is important for
fully understanding and absorbing Der Ring Des Nibelungen.
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-63605706714481347572018-01-24T03:20:00.001-05:002023-12-22T16:30:18.588-05:00Consigned <b><u>Excerpted from Mvt 3 of Symphony no. 4</u></b><br />
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This is not a piece intentionally meant for Pop/Rock/Metal fans, so please feel free to rock on elsewhere as you wish. What this is is a piece that features multitudinous, compressed melodies and a mosaically stitched harmonic map (said harmonies get so dense at times to be unsettlingly discordant, underscoring the suffocating nature of suffering). This piece, excerpted from the third movement of my second Symphony, was written during a time of suffering, however, I took a page from Groß Meister Beethoven's "Hymn of Gratitude" by incorporating a more positive and familiar (though still introspective) part at the end. Said part was inspired by old cowboy westerns like Alfred Newman's "How the West Was Won" and Tiomkin's brilliant "Alamo". Both cowboys and -girls are usually seen as good spirited, carefree..but there's an ominous side to the part as well as evidenced by the outlaw side of the coin. Or one could say, not out of the prairie <span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">yet </span>(or steppes, for that matter).<br />
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The sound design applied to this movement made it into a hallucinatory swirl. A lot of this was do to my being creative panning the instruments, and the reverbs applied enhanced the dreamy quality.<br />
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<span face=""arial" , sans-serif" style="background-color: transparent; color: #545454; display: inline; float: none; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 18.66px; overflow-wrap: break-word; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; word-wrap: break-word;">All music © 2019 Andrew Neires DiGelsomina All rights reserved, piracy and plagiarism will be prosecuted.</span>andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-12009153690064065262017-12-20T08:16:00.000-05:002019-04-21T06:06:12.606-04:00CoronationThis opener to Lyraka Volume 1 was a lot of fun for the musicians involved, harkening back to the 70s Rainbow and with an outstanding vocal by Graham Bonnet.<br />
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Other, fine musicians involved were Gary Spaulding (Percussion), Andre Maquera (Rhythm Guitars, Co-production), and Thom Carvey (bass guitars, saxophone).<br />
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All music and lyrics © 2010 Andrew Neires DiGelsomina. Any infringement upon these rights will be prosecuted to the fullest extent of the law.andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-10506610038312045742017-12-01T18:28:00.000-05:002019-02-27T04:54:04.718-05:00John Lennon ImagineI feel, as we near the thirty eighth anniversary since this great composer was taken away from us, that the message of this song, perhaps his <em>non plus ultra</em>, more than deserves being reinforced. From a post I made on this blog in October, 2013: <br />
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"To me, with this song John brought out the things that upon reflection make life worth living, those things that are beyond cultural or temporal aesthete in terms of archetypal beauty. <br />
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I myself truly believe that John's visions of a brotherhood of man, of everyone working together, feeding and sheltering and not unduly judging others can be made a reality. And if that makes me a hopeless romantic, an insufferable idealist, so be it.<br />
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The centuries have proven that man is capable of bringing what's inside out into the real world. The seemingly supernatural advances in technology are a great example of the formidable powers of men and women working together. I think we should all get together and work toward a common goal of no more wars, no more killing people, no more judging. <br />
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Reach within, everybody. It all starts with us...and our imaginations.<br />
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-44827034201802383772017-11-01T04:20:00.000-04:002019-10-01T07:32:43.569-04:00Adagio for String Ensemble no. 1Transverberation of the heart.<br />
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Donations toward the final production, engineering, and release of Lyraka Volume 2 (or simply my music in general) can be made by Pay Pal to: lyrakametalopera@yahoo.com and thanks for all the amazing belief our patrons have shown over the years, "in our hearts you'll live forevermore!".
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Completed and © February 1st, 2019 Andrew Neires DiGelsomina. All rights reserved, infringers will be prosecuted to the fullest extent of the law.
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andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-90380348707894228552017-09-01T09:53:00.000-04:002018-07-14T17:34:50.945-04:00The Serial Vignette Approach to CompositionAfter recently reviewing my work of the past eleven years, I've come to realize that I'd quasi-inadvertently invented a musical form that is the product of what I call <b>Serial Vignette Composition</b>. That type of writing was already evident on Lyraka Volume 1 ("Palace Guard", "Errandia", "Neires"), and since then I have refined its execution a great deal, coming to a strikingly effective...let's say, <i><b>personality quirk</b></i>. This form of stream-of-conscious, almost film cue-esque writing has never been as thoroughly explored as in my music.<br />
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Please bear with me for a mercifully brief autobiographical aside.<br />
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When I was young, my parents were huge movie buffs, and we regularly went to cinemas to indulge. Movies were a big part of my life since I was young, and I came to love them very much. I was a fan of Coppola, Kubrick, and Scorsese, and during the 90s Quentin Tarantino. In regard to Tarantino, I'll never forget watching the layout of his films ("Pulp Fiction" and "Kill Bill" for just two instances) and feeling as though I'd found a creative soul mate. The way I diverge from his method is by not being as ruled by the movie form as he (understandably) wa$. To elucidate, Tarantino's films led to satisfying conclusions/resolutions, despite the odd internal sequencing, while my music tends to mirror more the internal experience by often leaving conflicts unresolved, or radically resolved to (say), a rare (and/or seemingly random) chord or sudden halt, explosion...MacGuffin. Those last mentioned attributes were especially striking to me when I started studying the films of Alfred Hitchcock and the repertoire of his greatest collaborator, maestro Bernard Herrmann, because such irresolution is part and parcel of their art as well (even more fun: I didn't even discover <b>Vertigo</b> until after I turned 50 lol! It was like I had a couple of artist friends all this time and never knew it! :). Watch the movie, pay close attention to the score, and you'll understand better what I mean.)<br />
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This style of composition could be seen as either an oblivious concession to and/or more "artistic" example <em><strong>of</strong></em> of the ADD (i.e. popular) culture we live in, but it originally stems more from my own, vignette-laden inner experience. To be more specific, I often reflect on experiences in a cinematic way, and this is why much of my music sounds storyboard-ready.<br />
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<br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-56975090637643457502017-01-22T12:31:00.000-05:002020-06-27T10:11:21.184-04:00Symphony no. 1, Mvt. 1<div data-contents="true">
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<span data-offset-key="6dknp-0-0"><span data-text="true">This movement is composed of manifold vignettes in a stream of consciousness way. </span></span><span data-offset-key="6dknp-0-0"><span data-text="true">Think of a conversation between an ensemble of personalities (or more precisely, points of view), each perspective going through the process of delineation, integration, assimilation, and sublation from all the others as its individuality asserts (and, through the process, concurrently affirms) itself. There are interjections, varying degrees of harmony and disharmony, variations within variations, use of aleatoric and randomization techniques, alternatingly stark and enormous layered rhythms, elements of the grotesque, modularity...</span></span><br />
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<span data-offset-key="6dknp-0-0"><span data-text="true">Special thanks to my Uncle John Shafer for unfailing support, and I mean from all perspectives, providing the tough love where applicable...I'm crazy aboout you, you're my family. <span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Your belief put wings on my heart. </span></span></span><br />
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<b>All music © 2015 Andrew Neires DiGelsomina</b></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-44596163757794547912016-11-01T07:00:00.005-04:002021-05-20T14:51:25.985-04:00Volcano: A Psycho-Drama in Three Acts<span class="userContent">Part 1:</span><br />
<span class="userContent"><span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> This is not the final representation of this piece, however the writing and arranging is done. </span></span><br />
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<span class="userContent"> The philosophical motivation for the Lyraka Volume 2 song "Volcano" is from Arthur Schopenhauer's <b>The Will as World and Representation</b>, a cynical tome portraying the life as suffering due to the individual's ceaseless, ubiquitous desiring. Schopenhauer argued that the will alone is the absolute (his musings inspired by the Hegelian fascination in Germany at the time for positing things as "absolute").</span><br />
<span class="userContent"><br /></span> <span class="userContent">In the song Volcano I envision the concept of will as like unto some immortal, Lovecraftian deity in its pure form so bizarrely foreign to people in ways, manner, and appearance as to drive you mad if you ever came upon it enflesh'd. All we really know of this essentially abstract concept is the jellied-gasoline spread and burn of it at its most intense; the creeping, sentient, dread-inducing way it dogs our steps, and finally the way our minds work to adjust to its omnipresence.</span><br />
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<span class="userContent">Someone cue a tritone!</span><br />
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The drama is in three acts, which play out like this: <br />
Volcano<br />
a) Treadmill<br />
b) Abyss<br />
c) Futility<br />
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<b>Graham Bonnet</b> plays Locke, the head of the Lyraka's Palace Guard, <b>Veronica Freeman</b> Scatherus (demonic possessor and servant of Abyss), and <b>Rob Diaz</b> the Abyss incarnated. The backing vocals are by Liz Vandall, whose audio will be replaced by Nina Osequeda on the final mix.<br />
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<span class="userContent">Part Two: <a class="OYKEW4D-e-i" href="https://www.blogger.com/blogger.g?blogID=6370277718455001408#editor/target=post;postID=2147245883212225259;onPublishedMenu=allposts;onClosedMenu=allposts;postNum=24;src=postname">"Volcano" Lead Guitar Parts: Philosophical Motivation, Context of Song, and Visualization</a></span><br />
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<span class="userContent"> When it came to the lead guitar solos, I knew right off the bat that I wanted a bubbling lava sound to my lead, and technically it appears multi-tracking economy picking and arpeggiated phrases did the trick. I wasn't as concerned with playing something metronomically in time, stridently consonant, or tuneful. I wanted to represent artistically the bare will as lava, bubbling, splashing out of control. </span><br />
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<span class="userContent">As far as the cadenza in context, on these runs I visualized the heat of the above-mentioned, inexorable Will-lava; that primordial napalm which inspires the grind-slaves of Errandia to continue hurrying on to nowhere, all the time chained to a treadmill.</span><span class="userContent"> </span><br />
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<span class="userContent">In summa, I knew the runs I want to play and how, mult-tracked the same solo, to tighten it up <span class="text_exposed_show">like Rhoads (yet beyond) and pan one take each left and right, then pick my favorite one for the middle. I ended up with parts of the other solos that worked together as a counterpoint, so I used quite a bit of what I recorded, which is rare in my method.</span></span></div><div class="text_exposed_root text_exposed"><br /></div><div class="text_exposed_root text_exposed"><span class="userContent"><span class="text_exposed_show"></span></span><a class="style-scope ytcp-video-info" href="https://youtu.be/jhz3NFZkf-I" style="background-color: #f9f9f9; font-family: Roboto, Noto, sans-serif; font-size: 15px; text-decoration-line: none; white-space: nowrap;" target="_blank">https://youtu.be/jhz3NFZkf-I</a><br />
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<span class="userContent"><span class="text_exposed_show">Please donate toward the release of Lyraka Volume 2 by Pay Pal to this address: <a href="https://www.blogger.com/null">lyrakametalopera@yahoo.com</a></span></span></div>
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<span class="userContent"><span class="text_exposed_show">Special thanks to Boris Vallejo, and a plain old simple-but-huge thanks to Andre Maquera for excellent rhythm guitar and for getting the heavy parts of this track together for me. Thom Carvey and Gary Spaulding on excellent bass and drums, respectively.</span></span><br />
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<b><u><span style="font-size: large;">To hear this piece in completed and published form, please make a donation by Pay Pal to lyrakametalopera@yahoo.com. Your support will be massively appreciated!</span></u></b><br />
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All of this was composed, arranged, produced, and engineered by me. <b><u><i>This is not the final product.</i></u></b><br />
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<span class="userContent"><span class="text_exposed_show">All music, lyrics, everything <span face=""arial" , sans-serif" style="background-color: transparent; color: #222222; display: inline; float: none; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> ©2018 Andrew Neires DiGelsomina.</span></span></span></div>
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<span class="userContent"></span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-48606819720142557992016-09-28T13:35:00.000-04:002019-06-06T04:44:02.465-04:00Music For Piano and Orchestra no. 1<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: #141414; color: white; display: inline; float: none; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 1.4; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">© 2018 Andrew Neires DiGelsomina. All rights reserved, infringers will be prosecuted to the fullest extent of the law.
</span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-91950198457518876262013-11-30T08:58:00.000-05:002020-01-22T11:29:26.406-05:00Concert vs Popular MusicI've had people asking me if I expect my concert music (symphonies, string quartets, etc.) to be as popular as my Rock stuff for Lyraka and the answer is "of course not!". My symphonies, for instance, are by nature not going to be especially popular even by the broadest definitions of the term. I knew that when I began writing them. However, due to this capitalistic, MTV-led society we live in I feel I should expand upon my otherwise succinct answer.<br />
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Concert music is a way of taking what I sometimes consider the handcuffs of Rock forms off and taking flight with a vision that is entirely Andy-made and Andy-led. With Pop<span class="text_exposed_show">ular music (to clarify, by Popular music I include Rock, Metal, Country-Western, Hip Hop, MTV...you get the picture), you're typically given so many bars to make an impact, otherwise you start making the composition into something that isn't Popular music (i.e., not particularly liked by the majority of folks). Popular music requires adherence to a set of rules (I know, sounds like the philosophical opposite of what many people define as Rock music). Film scores are often the same way, aligning strictly with what's on the screen (though film composers like Goldsmith and Herrmann have in their scores pushed the envelope into art music with highly sophisticated and creative composition, harmonic deviltry, and idiosyncratic orchestration). </span><br />
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<span class="text_exposed_show">With concert music (I'll include the avante garde genre along with the abovementioned symphonies, REAL concerti, Kammermusik, etc.) one has the opportunity to make one's own rules according to inner experience (witness how my symphony writing rarely if ever conforms to the Classic/Romantic rules of structure, as my creative spirit won't settle for that kind of outer imposition...and yeah, I'm aware and couldn't care less how pretentious that sounds). </span><br />
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Some would read the above and wonder why I would share these non-Rock compositions with others if they were deeply personal and not necessarily adherent to forms that people know and deeply love. Well, I do want people to hear this music, for one my concert music is some of my most potentially enduring. Lyraka was written with sophisticated composition only peripherally in mind (I had to exorcise the rock guitar muse that was a big part of my getting into music in the first place), and I'm quite proud of many of the compositions there. However, that music was ultimately all about Jasmine's story and in no small part a gift to her and the magic she's brought to my life (thus, not necessarily compositionally advanced, though there are portents of future concert work there). My symphonies, etc. are for the far future, or however long humanity has before we either blow each other up or the climate finishes the job itself. I must also point out that my Composer's Sketchpad series was designed for both music students and fans to have insight into what Martin Popoff referred to (in his review of Lyraka Volume 1) as the "partaking in the thought process of a great songwriter".<br />
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<span class="text_exposed_show">Anyhow, after this burst of hot air, I hope everyone who didn't fall asleep gets the point <span class="_5mfr _47e3"><img alt="" class="img" height="16" role="presentation" src="https://static.xx.fbcdn.net/images/emoji.php/v9/fa1/1/16/1f61d.png" width="16" /><span class="_7oe">😝</span></span>. </span><br />
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<span class="text_exposed_show">Here's a ten year old photo of me to lighten things up😏:</span><br />
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<br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-61126143404626044202013-10-20T08:34:00.000-04:002019-12-15T09:02:37.598-05:00Beyond the Palace <div class="separator" style="clear: both; text-align: center;">
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<u><span style="color: #000120;"></span></u><br />andyhttp://www.blogger.com/profile/16669924112595049181noreply@blogger.comtag:blogger.com,1999:blog-6370277718455001408.post-71628632043413820472013-07-01T07:26:00.000-04:002018-05-16T13:28:03.124-04:00Errandia<span class="userContent">Sturm und Drang alternating with Meerfraulied, culminating in a most Macabre Minuet. When you listen patiently, you can hear how the simple opening motif goes through literally dozens of transformations: punctuating cellos and double bass during the first, Tristan und Isolde-esque orchestral section; highlighting the orchestra in the woodwinds during the second; set into multiple times, and keys; ultimately exploding into free form fantasies...
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