Chopee.
Explore the world beyond your window.
Pasquale Pericoli (2nd half of the 18th Century).
Cello Sonata No.6 in A.
I. Allegro ♫
II. Largo ♫♫
III. Allegro ♫♫♫
#Chopee; #Faynini; #Yolligri; #Guerance; #Chemmole; #Milldit; #Virsigor; #Aeropman #Fandoriff; #Faynini#Yoyenfinn; #Aoroman; #Simalli
Cello Series #3. Acrylic Paint on Infusberry Paper, 240 x 333mm.
Will the AI have the last laugh?
Today’s solo cello piece, it’s a squeeze, not enough time, but getting there. I tend to notate them as first drafts and when the time comes rework them. The main thing is to constantly notate the first impression, rather than labour on an existing one. Just like painting, that initial rush of energy, the first building blocks. It’s quite addictive, after that it’s a matter of mechanics.
It is not different from an author building the script and the characters. Therefore I use the same techniques. A composer uses scale, and the author uses words to build the characters and the story.
The rippling effect.
Who is exploiting whom? Is it the model, the artist, the audience, the question or the response?
It all comes down to expression and vocabulary.
New rhythms on the block, for the hammers, have long gone.
A taste of summer nights in wine so blissful with cheers. All so clear, all ensue.
Interesting to note, that the musical scale does not have a morality code.
The tide is at the gates.
The orange door to the character.
Knotting of the Holy Grail.
Key, keylines and their meanings.
These series intertwine, in text and music.
Reflections from the Mediterranean.