Diario

  • The Processional

    Apr 8 2006, 0:21

    This regal production was written for my own wedding processional as an alternative to Wagner's 'Lohengren,' the traditional classical composition that serves the same purpose.

    Arranged and produced with orchestral sections of violins, violas, cellos, French horns, glockenspiel and a pipe organ once played by Mozart, make it an ideal choice for a formal wedding and especially for those looking for a unique ceremony...

    Story Behind the Song

    Awaiting my wedding in October, 1986, I found myself in Dublin, Ireland with a Canon T70 camera, a Kawaii synthesizer and guitar and without much to do except compose and photograph my experience. It was originally recorded in Athlone, Ireland [during the 'Pipes of Peace' sessions] in an analog environment, and later digitally re-recorded.
  • Abraham Carlton Elliot

    Apr 8 2006, 0:07

    Innocent and childlike, this composition is among the oldest in my catalog. Written about 1977 on an available upright, a Steinway Grand is heard in the production's intro followed by sections of cellos, French horns, violins, percussion and harpsichord. 'Abraham Carlton Elliot' seeks to capture the imagination and wonder of the post-toddler worldview from my vantage of about 23 years of age...

    Story Behind the Song

    Written on the occasion of his fifth birthday, 'Abraham Carlton Elliot' was witness to its inception and likely unaware of how easy was its creation and how enduring of a memory it has remained. Digitally recorded in the late '80's, and perhaps, ultimately the fastest production of all my work...
  • Sauterne

    Apr 7 2006, 23:47

    'Sauterne' [a dry to bittersweet white wine] is perhaps the second oldest song in my catalogue. It was submitted in 1976 for a College music theory assignment to an amenably strict instructor [Williametta Spencer] who seemed to enjoy it. It is quite melancholy, yet without the urge to find a handkerchief...

    Story Behind the Song

    The mood probably speaks for itself, though I cannot recall the specific episode. Written on my then very new baby grand, a 1939 Wurlitzer, it wrote itself very quickly. While it was recorded digitally late in the 80's, I did not get around to its production until the Summer of 2002, and even then, it was worked up around some other tracks that required much more time, without diminishing at all the quality of the composition...
  • Beautiful Faces

    Apr 7 2006, 23:34

    It was not long after meeting Patricia Lee Combs [who came to me as a guitar student in 1978] that I wrote this romantic and melancholy bar stool composition on her baby grand piano. Although I feel her presence, she was my biggest fan and I will always miss her fairest of friendships that I am certain can be interpreted from the production.

    In addition to two concurrently played piano tracks, the production includes the use of a full set of drums used quite economically, French horn, chorused fretless bass guitar and a 14 instrument violin section using both glissando and pizzicato technique for the bridge or middle eight.

    Story Behind the Song

    The keys to her baby grand piano were very sensitive and I remember thinking that I wished that this was my piano instead of the one I had. Of course it was my piano away from home and it gave me great pleasure at parties in addition to being part of the inspiration for this composition. She became one of my dearest friends spanning approximately 25 years, culminating in her inexplicable death from cancer on August 9, 2003.

    My wife, Theresa gave me the title and it was yet another example of the character of the piano, and in this instance, also the character of this beautiful and talented person influencing the creativity.
  • Castles, Canticles and the Cadence of the Celts

    Apr 7 2006, 23:27

    This composition came to me as I was working on another track [currently in production] that lent itself to this transition. A part of the world that is rich in history, tradition and culture, its music perhaps being the most enriching. Got Pipes?

    Story Behind the Song

    Forever attracted to pipes of any kind, and having married into one of the traditions found in the United Kingdom and Ireland, one never really leaves once you have experienced the history and culture. This composition practically wrote itself. The pipes, the pipes were calling...
  • Pathetique

    Apr 7 2006, 23:09

    Written in 1978-79, this classical work is actually two ideas conceived in related keys. Classical aficionados will likely recognize that Beethoven and Debussy influenced this composition. It is perhaps ideally suited for ballet or ice dancing and if you are not wide awake, could gently pull you to sleep...

    Story Behind the Song

    This was originally recorded to an old 'reel to reel' and had to be re-created digitally about ten years later...
  • Minuet in D

    Apr 7 2006, 23:01

    The horse and carriage heard in the intro to the composition not withstanding, and although not originally written for this purpose, 'Minuet in D' has been used as a musical suggestion [prelude to the ceremony] from the bride to her guests in attendance at her wedding, signaling her intention to begin the ceremony. This lovely musical transition serves to subdue and alert attendees to find their seats in preparation to the imminent custom of 'The Processional,' solemnly culminating at the altar...

    Story Behind the Song

    Originally entitled 'Minuet,' the story board in my mind suggested a romantic European setting [circa 17th century] of a yeoman street sweeper and his unrequited affection for a gentry class woman of considerable means, transported by horse and carriage.
  • On Top Of a Cloud

    Apr 7 2006, 22:53

    My signature thematic statement, on lovely cumulus and preferably without shoes, it is without effort that this ethereally tranquil, atmospheric composition will summon the listener to imagine themselves On Top Of a Cloud...

    Story Behind the Song

    Written on an old upright at Big Bear Lake, California early in 1987, the character of most pianos often contributes enormously to the composition and this was no exception. Although damaged by water shortly thereafter and the property of a dear friend, I hope one day to have it in my studio...
  • March of the Monarchical Miscellany

    Apr 7 2006, 22:40

    This composition was another of those conceived in the fertile chapter of my lengthy stay in Ireland. A Royal wedding unfolded across the Irish Sea and its aristocratic pomp and circumstance probably influenced its development. 'Taxi' critiqued the track as follows: "...stirring, solidly executed theme...It's an excellent, stirring march, well produced and living up to it's fabulous name..."

    Story Behind the Song

    While living in Ireland in 1986 and into early January of 1987, I had the great fortune of being able to concentrate exclusively on my compositions usually from the ancestral home of my would-be in-laws. I recorded the ideas to a hand-held cassette that when I returned served as a 'master' until I could record them properly in the emerging digital recording technology. But this track and others, only collected dust from the shelves of inactivity until the following century as I could not prioritize all of them.
  • It Was a Dark and Stormy Night

    Apr 7 2006, 14:08

    Stripped of its production, its category or genre would have to be 'blues;' but even without the arrangement, I thought the composition was eerie and applicable to themes of fright and horror.

    Recorded at 63 bpm, the arrangement seeks to capture Frankenstein's gait or walking speed, while the bass guitar primarily gives it heft and force. A powerful cello arrangement with sundry trombones and brass complete the ambience of paranoia.

    Story Behind the Song

    Written on piano, my original analog recording included excerpts of the original 'War of the Worlds' radio broadcast which has been the working title for the track for about twenty-five years.

    Written a decade prior to the 'Roland architecture period' and without any specific external event that I can recall, the composition nonetheless evokes an ambience of fear, and I was only too happy to complete the production.