Okay... let's try this yet again. Beware of flakey wireless whilst uploading (even with FTP). I'm re-posting this again with a new file; the previous one was damaged due to a flaky network connection at a certain well known coffee retail outlet which shall remain nameless. {I've just uploaded the new file at Dead River Coffee in downtown Marquette right now and their network is running at its usual flawless. :} Enjoy! Copyright MMVI Strandgeist Media, Creative Commons license 2.5 = Attribution/Non-commercial/ShareAlike. Performed Live at the Holiday Inn, Marquette MI USA, the week after 'Nine-Eleven' and i was in a strange mood all night. This is my Rhodes played through delays. ___ The pool game went on unabated.

Here is the 'end-credits' music isolated from that GarageBand3 collage i called Mash-up 1. This was an editing test. I had just upgraded to the iLife3 suite and had discovered the extensive library of stock audio that came with it. It started as an editing test to check out the usability of GarageBand as an editing tool. Unfortunately all i saved of it was a 160 kbs mp3 file. [kicks self in the pants for not saving an AIFF -- or at least a higher bit-rate mp3] Oh well. Live and learn. ___ Stock Audio from GarageBand version 3. Creative Commons 2.5 license ___ strandgeist.com

Suite II for Leigh (with Ostanada). This is one of my earliest works, recorded whilst Jo was still teaching in China (before we were married). Okay, here is the whole Suite II. ... I recorded the Rhodes (through a slow, deep Stereo Chorus) onto a cassette tape, and then played this back in an atrium (at Saint Paul's Episcopal Church, in Marquette, Michigan USA, in 1993 [i think]), using Howard Harding's old ReVox Reel-to-Reel for sound-on-sound delay looping, whilst playing my flute and singing, whilst recording onto a Beta Hi-Fi recorder (no Video, just Audio). I used my old Altec mixer to run some of the Rhodes direct, with some of it playing through speakers in the atrium, as i played my flute to my home-brew stereo microphones -- also feeding into the mixer and the tape delay loops, and i did about two or three layers like this. The spaghetti patchwork was a hairy mess worthy of Edgar Varez. I'd never be able to reproduce it in a thousand years. I have a friend, Leigh, who, when i brought my finished work for her to hear, informed me that it was her birthday. This was so cool that i named it for her. The suite begins with the Rhodes, in one layer of tape loops. Near the end, in the ostanada, i add two more layers. {You'll hear both flute and vocal layered together.} Enjoy! ~heath ... Copyright MCMXCIII Heath Patrie - Creative Commons deed 2.5 = some rights reserved = attribution and commercial use ... heathpatrie.org

Ostanada, from Suite II for Leigh. This is one of my earliest works, recorded whilst Jo was still teaching in China (before we were married). I recorded the Rhodes (through a slow, deep Stereo Chorus) onto a cassette tape, and then played this back in an atrium (at Saint Paul's Episcopal Church, in Marquette, Michigan USA, in 1993 [i think]), using Howard Harding's old ReVox Reel-to-Reel for sound-on-sound delay looping, whilst playing my flute and singing, whilst recording onto a Beta Hi-Fi recorder (no Video, just Audio). I used my old Altec mixer to run some of the Rhodes direct, with some of it playing through speakers in the atrium, as i played my flute to my home-brew stereo microphones -- also feeding into the mixer and the tape delay loops, and i did about two or three layers like this. The spaghetti patchwork was a hairy mess worthy of Edgar Varez. I'd never be able to reproduce it in a thousand years. I have a friend, Leigh, who, when i brought my finished work for her to hear, informed me that it was her birthday. This was so cool that i named it for her. This is the ostanada at the conclusion of two suites. The suites are only the Rhodes, in one layer of tape loops, and in this ostanada, i add two more layers. {You'll be able to hear both flute and vocal layered together near the conclusion.} Enjoy! ~heath ... Copyright MCMXCIII Heath Patrie - Creative Commons deed 2.5 = some rights reserved = attribution and commercial use ... heathpatrie.org

rhodes less travelled by... tempted by this sequencer... yet ever that sound. ... Here is another glimpse into the production process. This is a 'Rhodes' stage piano patch i've tweaked in GarageBand (to get the sound i like when i play my real Rhodes - which i've been playing for, oh, 18 years, or so). I've done a wee bit of sequence editing - to fine tune some note velocities, and smooth out a few rough edges (mostly to comphensate for the mechanically un-weighted M-Audio Radium49 MIDI Controller's total lack of 'feel' - the real hammer action of the real Rhodes won't let the velocity sound unatural - which is why i'm saving-up for a Kawai MP8 - famed for the quality of its hammer action), but, this sequence is 99% untouched. I hope later to post something produced from this, with this as its musical 'backbone'. I'm not sure where i'll go with it, but have some vocal ideas, and maybe i'll learn to play 'drums'. Enjoy! haiku and original composition © MMVII Heath Patrie - Creative Commons Deed 2.5 = some rights reserved = attribution and commercial use ... Please turn me on to any derivatives that get cooked-up out of this, and keep my name on it (which is not too much for any Artist to ask).

First Snow I. leaves beneath my feet. my breath hovers before me. sunbeams in the snow. ... II. A misty morning glomen brightens the luminous sky. The first snow, having come (as oft it will) beneath the veil of night, reveals its frosty patina upon the land. The first rays of Sol now touch the icy dust. It sparkles in the chilly morning air. ... My breath hovers before me. I walk along, unhurried. My footfalls crunch the crispy leaves, now dusted in sparkles. Ah, the desolation before Winter. This stark beauty, upon my Earth, my fragile island home. ... How insignificant she seems, in the grand scale of Reality. Yet, she is my whole World, the only home i've ever known. This, the one life i know, i think to myself - crusty leaves crunching beneath my feet, my breath before me, sunbeams sparkling in the snow. ... III. beneath veil of night. a frosty patina falls. sparkles in sunlight. ... This is my 2nd official GarageBand composition. It is also Tranquil MMVI.42 (in honour of Douglas Adams, of course) in my 'Tranquil Music by Heath' podcast (which i've been posting since last May). ... poetry and music © 2006 Heath Patrie Creative Commons deed 2.5, some rights reserved (attribution and commercial use)

point and click the notes. it is not an easy road. music finds a way. ... This is my first official GarageBand composition. I was playing around with it, clicking on the notes on the floating tiny keyboard pallet, and, before i knew what i had done, this came out. {I was in a Skype call, if i remember rightly - live on the w0kie network (i think), and someone in the IRC had asked me a question. I had opened GarageBand to check if it could record in 24-bit linear, and i got side-tracked (as usual).} Needless to say, i got hooked. I began lusting for MIDI controllers, did some research (a lot of research), and formed the dream of using a Kawai MP8 Professional digital stage piano - which, unfortunately, costs a couple grand. But, this has been the imputus for me to get off my duff and score as many gigs as i can manage. I still don't have the MP8, but should be getting an M-Audio Radium 49 delivered tomorrow. {Hey, it was only a hundred bucks.} The 'point-and-click' method of music composition is just too frustrating; i had to do something. ;-] And, i started this Podcast, in anticipation. Enjoy! ~heath ... haiku and music © 2006 Heath Patrie ... Creative Commons deed 2.5 - some rights reserved (attribution, commercial use) ... http://web.mac.com/heathpatrie

he sits and plays - not knowing it's recorded - a plesant surprise ___ This is the last of three pieces recorded the night i crashed Wade's gig at EmmaJoe's Coffeehouse (in 2001 or 2002, i forget exactly when). This is played 'straight ahead' in front of a Live audience. ___ In this piece, 'Exstasis', i sat down at the keyboard and did what i do best: improvise. At first Wade wasn't recording, but said he freaked out and got the MiniDisc machine rolling when he realised 'how good' i was. {This is one of the best compliments i've ever received. A compliment like that from a Musician i admire carries a lot of weight.} ___ He got only the last five minutes of the first suite i played (not complete enough to publish - plus, i can't find the master, which is all i have of it), then he sat down at the analogue modelling console and twiddled whilst i played. I didn't realise he was recording until after we'd finished. I'm so glad he did; this is one of my better improvisations (which i plan to work out on acoustic piano one of these daze). Wade didn't have the room miked, so you can't tell it's Live - except for my mistakes. His MIDI keyboard had a broken 'F' key, midscale, which stuck up at a rude 'excited' angle, which i had to play around - hence, at least two of the obvious flubs i make. But, that's Live. ;-] Enjoy! 'for music hath charms to soothe the savage breast.' (William Congreve) ~heath - heathpatrie.com ___ This work is licenced under the Creative Commons attribution/non-commercial use license 2.5

play for me some pads, as i twiddle many knobs. many sounds we make. ... Welcome to the inauguration of 'Heath Electric' podcast. My 'Tranquil Music' podcast has an obvious theme - into which some of what i do will never fit. So, here i am, suffering from 'LaPorte' syndrome: maniacly adding ever more podcasts to my 'publishing empire'. ;-] ... This is from a gig crash, oh... what? 4 or 5 years ago? When i first started playing EmmaJoe's Coffeehouse, i was alternating Monday nights with a friend named Hunter Wade. {I can't remember his last name, and he's since left town. I'll have to ask Jason.} I was curious to hear what he played, so i went to his gig. He did some truly excellent Cat Stevens covers (his own arrangements), and had a Roland analog modelling synthesizer which could do amazing things - with an interface very reminiscent of the analog synths from the '70s (e.g: the Arp 2600, or the Moog Sonic Six) - with the notable exception being that the Roland can play polyphony. {The major limitation of the old synths was that they could only play one note at a time.} So, it was impossible to play complex music Live; you had to layer all the parts together using a multi-track tape recorder. Wade's Roland, of course, has no such limitation - which allows one to play the music 'straight ahead', Live, which is what we did. He invited me to play a set - most of which he recorded. {There is a whole suite i played before he decided to press the 'Record' button on his little MiniDisc Recorder. Bummer. But i'm glad he did press it when he did. Thanks, always, Wade!} 'Protologue' begins with Wade laying down some nice pads (chords) as i twiddled the analogue modelling parameters. This then progresses to just one source note - with which i create the second part of the suite out of 'thin air' as it were - working with nothing more than the analogue modelling parameters. {Parameters are 'defined variables' -- not at all the same meaning as 'perimeters'. These are terms which many people routinely confuse.} I hope you have as much fun listening as we did playing. Share and Enjoy! ~heath - heathpatrie.com ___ Creative Commons attribution and non-commercial use license 2.5 ___ {My next post will be 'Exstasis' (from that same fateful evening). We switched seats, and i played the MIDI keyboard (with the broken 'F' key), whilst Wade played 'Analogue Modelling Artist' on the Roland console to my playing.}