Track stories EP

Experiments in Improvisation 

{Part 1 of the Experiments and Explorations EPs} 

The goal on this release was improvisation and challenging myself to build those "improvisation muscles" but still come up with listenable songs that sound like G Clef Fusion songs. 

With each of these pieces I basically began with a drum groove auto/random generated in a Fusion style then through a limited repetition improvised a main keyboard verse and then a matching improvised main bass verse, then used those to alternate an improvised 'solo' alternating between bass sound and main keyboard sound being the primary "improvisor". I would then repeat this cycle of composition for 3-4 times to build out the song. While I did make serious attempts to reach a live impromptu approach to the 'performance' - it was still subject to some edits (fixed timings or more 'composed' transitions between sections). I still think it met its objective and still come out with some very tasty and listenable tracks.  

 I always like improvisation when it surprises even myself as I listen to it on playback. I think this EP helped me in the skill approach and pushed some boundaries on the G Clef Fusion "Sound".  I chose the title and picture because I loved the play on words with the "Hand We Are Dealt" implying not only cards but keyboard playing (with your hand) and the foundation with these tracks of a given Drum Sequence. I think it also reflects life and the times where we all are trying to make the best of what we are given.  For each song title I tried to carry on the 'hand' metaphor and named each in line with each 'digit'.   

Taking the Hike: This felt like a moving piece and the hike fit nicely, with the thumb for a hitch-hike or the baseball; you're out of here; hike. With the improvisation aspect to this release the instrumentation on almost all of these tracks is limited to Drums, Bass, and a Main Keyboard. This one is Organ.   

Point and Poke: Was really trying to make a Jazzy/ Smooth Jazz-ish piano piece as I was improvising. The first finger being the poke and point followed the naming convention.  

Carnal Invitation: I could have gone index here, but the 'middle finger' as an invitation fit the mood and timbre of the song better. With a sexy but a little dark sounding Sax sound as the main keyboard timbre. I was trying to channel my best saxophonist impression - not sure I stayed in that realm too good, but still makes for an interesting if a bit different tune.   

One Ring to Bind Them:  On one hand (pun intended) this can refer to the Lord of the Rings comment on the One Ring, but honestly more of the reference to wedding ring on the finger essentially binding two (for better or worse). The synth lead does led itself more to the former than the later though with its sounds of bad portent. I'll let the lister decide which applies.  

You Swore: Concluding with the 'Pinky' was looking to the promise of interesting and challenging music, not only in this song but in future compositions.  More synth as lead, but with a very aggressive bass sound too.  

Experiments in Complex Time Signatures

{Part 2 of the Experiments and Explorations EPs}

The goal of this release was to dabble in time signatures beyond the common. I wanted to avoid 4/4 and 3/4 throughout. So I basically picked the time signature before the composition.  With the metronome or basic drum pattern keeping the beat, I composed the patterns to those measures. I also wanted to be more complex in the performance - more things going on - making these tracks require a more 'active' listening. 

But I wanted the songs to still have that high energy and memorable themes of G Clef Fusion tracks of the past. I think the objective was successfully achieved. 

For song titles I wanted to steer toward things that are generally thought of as complicated or complex. 

Hands at 9 and 3 

- 9/4 time with emphasis on 16th note triplets I love the shuffle sound of this track and it reminded me of night driving and the challenge of performance driving, so the 9 and 3 position of the hands on the steering wheel. Not hands on a clock (but that is an interesting subplot!) Piano, bass, organ and heavy cymbal work add to the complexity.  

Greatest Common Factor is One 

- Alternating 10/8 & 9/8 measures The mathematical common factor among 10 and 9 is one - so it fit with the title theme.    Advanced Math is complex and difficult (always was for me).  Also it highlights that change starts with ourselves and at some level we are all the same. The switching time signatures between measures make you search for the beat, but still very listenable song. Again Piano, Bass and Organ going in and out of prominence makes for an active listen. I always like sound that takes the listener along a path where they find themselves on a different path if they listen long enough and attentively enough.   

Quantum String Theory - 11/8 time signature 

The emphasis is on the interplay between the strings and the organ in this 'classical' sounding piece. So I couldn't avoid the "String" multiple reference in the title - the Quantum addition relates to the fact that this song itself can be listened to from three perspectives: (1) being the full stereo with all sounds Organ, Strings, Bass and minimalist Drums, (2) Right Channel only with just the Organ, Bass and Drums, and (3) Left Channel only with just the Strings, Bass and Drums. A 'different' song just by a different perspective.  

The Formula (r=y*m) - 7/4 time signature 

Again with the math metaphor, but also my tendency (read formula) for using primary Organ. This started as a piece with just organ and drums, but evolved to more sound complexity with the bass and synthesizer sounds added in. The actual formula is an actual homage to original band RYM and spelled backwards my name [M*y=r]  

It Is Rocket Science 

- 17/8 time signature with a 13/8 measure bridge A play on the "it's not rocket science" meme, in this case it IS. Kidding aside, music itself is challenging and complex time signatures are another level, but like Rockets and Space - also interesting and fun. All kinds of stuff going on in this track: Busy Drums, Synthesizer leads, Piano Comping, Organ runs - it's got the works.

Experiments with Arpeggios and Sequences 

{Part 3 of the Experiments and Explorations EPs} 

This is the Electronic/Synthesizer EP. My ode to Tangerine Dream,  Jean Michel Jarre, Steve Roach and others. I wanted to write songs that took advantage of unique capabilities and unique sounds of synthesizers, not emulations of other instruments. I stayed away from traditional piano, organ and drum sounds - so prominent in other G Clef Fusion releases (no blatantly string or brass sounds either). There may be a little less rhythmic energy, but now with a more sonic variation and a focus on emotional or mood energy. This was also a chance to dust off some hardware synths I had that I had not taken advantage of their unique capabilities in performance or composition. 

The complexity and calling for attentive listening is there with many songs utilizing overlapping sequence patterns or arpeggios. Thus the title Pattern Recognition alludes to an active listen and a call out to the patterns in life, nature and even social course; architecture, habits, politics, etc. The cover art works in this way with the juxtaposition of the arch patterns and the religion and war character references. Even the artistic style like a wood cutting for a pattern of reproduction. As for the tracks: 

- Escher's Mind, like the great artist's work, this song has a repeating and circular sequence; an overlay of a 4, 8, 7 and 14 beat patterns that all reset to zero every 21 measures as the underlying rhythm of the song. Punctuated with dominant synthesizer sounds to give it the color and dynamics of a complete piece. 

- History's Own Predictor utilizes many sounds and sequences gaining and receding in prominence, channeling the 'History Repeats Itself' meme to paint the audio tapestry of the future (of the rest of the song).

- All Titles Have an Apostrophe; this piece a "solo" synthesizer (though layered) much in the same musical structure of a solo-piano piece utilizing the full octave range and a very chordal structure and a majesty similar to a classical piece. The irony in the title - unlike the others on this EP - is it does not have the possessive apostrophe (or does it?)

- It's Always Something is a song about life and the little 'blips' and pauses along the way. This utilized the advanced programable arpeggiator on the Roland Juno Stage keyboard as a performance and composition tool and a "drum-like" rhythm with notes and noises representing the continuous heartbeats. 

- Spring's Fall is reference to the grand pattern of the seasons, more atmospheric and melancholy than most G Clef Fusion songs, as spring actually falls in an allegory to climate change's loss of season distinctions or simply a seasonal lament of spring's end as the song moves through four sections each paying respect to loss of spring: Spring, Summer, Winter and Fall.

Exploring Classical Themes

{Part 4 of the Experiments and Explorations EPs}

  Interpretation is another creative outlet. Taking something that already exists and placing it in a different 'time' or context. Retaining a main thread or elements but presenting something fresh, coloring it with your own perspectives and histories; that too is art. This is that exploration. 

Some Classical themes are timeless, deservedly so; And the debate of how much interpretation is 'permissible' in performance or arrangement from the original score's script has raged on for almost as long. I am firm in the camp of 'have at it'. All the good works can stand a re-working and end up losing nothing in the process. Proof to me is in ELP's Pictures at and Exhibition or Dorsey's Bach Busters  (among others) that are albums that got heavy rotation in my formative youth.

I originally was thinking of 5 Bach (my favorite classical composer) works for this EP, but I also wanted to explore the differences and variations between composers. I ended up picking pieces where the melody will be at least subconsciously familiar to many and covering five different, but popular composers - Bach, Beethoven, Chopin, Handel and Mozart. 

In the end these are my G CLEF FUSION versions of these pieces. An alteration here, and addition there, a different sound or instrument for a voice line, or even a greater emphasis on rhythm and tempo - but still recognizable; but hopeful fresh, respectful, and interesting. Who knows maybe these can get someone interested in these Original Artists. 

- Arioso [BACH] - I had to have a Bach piece - that was a given, this one has a fun and uplifting melody that fit with the G Clef Fusion sound and energy. I loved having the organ retain as the main instrument but still sound a bit jazzy with the drums and synthesizer comp chords. I imagine Bach would have been having fun jamming down at the club. 

[link to hear a more classical version]

-Mazurka [CHOPIN] - Chopin always had moving melodies, this piece is exemplary show of it. I add a spacey texture and lot of synthesizer with a 'rowing down the river vibe'. You always wonder how some of these composers would have utilized the sonic variations of synthesizers as additions to their tool kits. 

[link to hear a more classical version]

-Contradance [BEETHOVEN] - As a piece composed for dance specifically it was easy to keep that thought as I focused more on the rhythm and tempo to make this song still dance , but interpret it as a different kind of dance - more samba than high court. The light melody still persists with the twinkling of electric piano. 

[link to hear a more classical version]

-Menuet [MOZART] Like the Chopin piece, this appealed to me as a more mood and 'walking' song. I kept hearing acoustic guitar playing the melody - though ended up with a 'plunky' electric piano. This one sounds to me more period sounding that the others on this EP. 

[link to hear a more classical version]

-Sarabande [HANDEL] - This one did not end the way I originally thought it would go. But, go it did once I steered down this path. This is truly one of the Heavier pieces of music and Handel shows a mastery of overlaying notes and chords. This one is the most radically different than the other interpretations in this EP, but I still love how this came out. It makes me believe Handel is the true 'father' of progressive metal. 

[link to hear a more classical version]

Experiments in Situational Music Atmospheres 

{Part 5 of the Experiments and Explorations EPs} 

  We interrupt this previous planned sequence of releases for a 'detour' EP.  In the Mood is all about background music, a soundtrack to life moments, the mood you are in or the mood you want to be in. It is definitely a "sell-out" release. Not the; 'now G Clef Fusion is a K-Pop group' nor is it trying to be just like Bad Bunny. But it is a definitive audience targeted and engineered release, but likely not for the normal G Clef Fusion fan. Not even directly listeners; As DOMi & JD Beck say, “If I have one big influence on my playing, it would have to be the YouTube algorithm”. 

So this release is targeted for the curators; the bots, the algorithms, the playlist creators, and all the programmed selection and delivery means and methods listeners are plugged into, like a Musical Matrix. Because like it or not, that is the front door you have to walk through to get to listeners. Most of the driver of this detour route - and it is just a one-time detour, we are quickly back to the regular high energy G Clef Fusion after this [look for new full length LP - Recondite Obbligato, coming early 2023] - is a "if you can't beat them, join them" mood funk, another is just trying different avenues of exposure, and last like the title - Experiments in Situational Music Atmospheres, I did want to experiment with music as mood driver, enhancer and facilitator.

Some ideas you need to just do them to get them out of your head. And while this is lighter and fluffier than all other G Clef Fusion releases. I still made a heavy effort to create something special and even retain a little of a G Clef Fusion vibe. But in the end it is a SEO release. So enjoy it for what it is and hope it brings you Calm, Happy, Joyful, Focused and Dreamy feelings. Set playback on single repeat at lower volume, in the background (no silence gaps) and enhance your mood.

You think it will get more listens if I mention there is a 'Cat playing piano' ? (there isn't).

The tracks: 

No fancy titles here, no double or hidden meanings, just straight to what it is. Though each track had a Key and Beats per Measure selected ahead of composition to emphasize the targeted mood.

Focus Only On Love

  - [Clarity/Focus] - F# Major 100 BPM

Happy Salubrious Stroll  

- [Happy/Carefree] C Major - 110 BPM. 

Energetic Sunshine Lemonade    

 - [Energy/ Motivation] G Major 120 BPM

Calm Sunset Chill 

- [Relax/Calm] B Minor - 60 BPM

The Journey through Rest to Sleep to Dream 

- [Sleep/Dream] A Major 35 BPM

Exploring the Spirit of the Holidays

{Part 6 of the Experiments and Explorations EPs}

Another release? - "It's Christmas Theo, it's the time of miracles" - Hans Gruber [Yes, Diehard IS a Christmas movie!] 

Much like the earlier release - You Heard Right - being in a festive mood (brightened up by the most recent In the Mood release) ; this time classic Christmas Carols get the G Clef Fusion spin and create something unique in A Fusion Christmas. It was a challenge on predominate, and so well-known, vocal pieces, but who doesn't love a challenge. I wanted it to be remarkably different, a fresh take, but familiar. All tracks stick to the Organ, Piano, Synth, Bass, Drum sound palate and all except one take on a caffeinated pace. 

And though I was tempted, there are no Church Bells or Jingle Bell sounds on any of these tracks. 

O Christmas Tree - straight off with some short, quick energy to charge up your holidays

Silent Night - probably my favorite Christmas Carol, the melody is great, but taking a different track I decided to jazz it up a bit. Makes it a bit more upbeat. 

Deck the Halls - more high energy to get that late decorating or baking done, or just dancing about the halls. 

God Rest Ye Merry Gentlemen - like Silent Night I wanted a different vibe for this piece, as I slowed it down and made it more atmospheric - on surface it seems melancholy but more of a calming mood. 

Twelve Days of Christmas - I actually picked this one because I wanted to tackle the 12 day parts as musical motifs. Ended up going with musical phrases on separate instruments of two notes, three, four and five - and combined to make - mathematically, (i.e. 3+4=7) all the 12 days needed - except for the 12 Drummers drumming, I just let the drums speak for themselves.  

Experiments in Chord Progressions

{Part 7 of the Experiments and Explorations EPs}

In this EP, the emphasis is on a foundational chord progression for the song with the solo element - a primarily monophonic solo timbre - through the course of the song to provide an element of melody and or flambouance.

Very similar to the Playing the Hand We Are Dealt EP with the establishment of some baseline structure then heavy improvisation to flesh out the tracks.

Phantom of the Apodictic - (clearly established or beyond dispute) is an ode to the ultimate truth (which may no longer exist, if it ever did) much along the lines of the phantom of the opera, but this one more idealic than architectural. With the heavy organ tones in all manuals and pedals, rumbling under the soaring violin lines that drive the song along.

Pockets Full of Unobtainium - (a highly desirable material that is hypothetical, scientifically impossible, extremely rare, costly, or fictional, or has some of these properties in combination:) dances with an optimisim of one having all they could want the the contrasting struggle to honorable decide what to do with it or how to give back due to that windfall. The heavy punctuation provided by the Trumpet timbre and supported by the piano chords and acoustic bass for a jazzy upbeat walk. 

Chords that Gyve (a fetter or shackle:) A take on the phrase 'cords that bind' while this looks to be more 'giving' it essential means the same, in a musical chords frame of refernce. Where the chords are the structure one is 'shackled or constrained to'; unless by intent, ignorance, or otherwise violated. Lots of knocking on the wall and doors, musically in this track with Piano providing chord progression framework polyphonically, but also a lead punctually and dynamicly with drums in heavy support.

I For One Have Two -  (I, IV, I, V, ii) - a nominal naming sequence for the chord progression the song is based on. Monophonic synthesizer lead line provides the color.

Conchordance (concordance: agreement or consistency) - A "satiric misspelling" or "Sensational Spelling" to fit a more musical purpose. Again relying on some mono-synth lead lines to provide some punctuation and show off a little. 

September 2023

Experiments or Explorations in Electronic Textures

{Part 8 of the Experiments and Explorations EPs}

Taking a Pulse EP was approached with the question of "what if the heyday of Fusion's inception was in early 80's as opposed to early 70's?" With a focus not on just volume and energy from traditional 70's rock source, but with a color and timbre driven by the range of what synthesizers can do, though still with a pumping, pulsating energy and a unique fusion blending.

This isn't an electronic music flavoring - as on the EP 'Pattern Recognition'. It's pushing the envelope of synthesized sound as the main texture within the song, uniquely sourced from a synthesizer as opposed to traditional instrumentation or audio processing supplements. While still being a Fusion and particularly a G CLEF FUSION type song.

Lots of deep bass synths, electronic percussion, washing filters and waves of polyphonic synthesizers pulsate through these five tracks. And a hope they 'quicken' your heart  after a listen or two. 

As for the tracks: 

Pressure Cooker is a kickoff of Frantic Energy, that feeling of  excitement intermixed with the 'ready to pop' anticipation. A heavy prominence of electronic percussion and wide synth chords with the filter sweep synth bass giving a high rate of pulse. 

Whilom Impetus de Susurrus loosely translates to the previous cause of the rustling sound. Though 'rustling' is an understatement in this wall of sound track, with stabbing poly synthesizer chords and marching bass track. 

Voltaic Fuse Triptych is full of symbolisms from the title moniker matching the EP's theme of electrical, fuses, and 'tripping' in a fuse overload, while the literal reference of Triptych refers to a three part art piece, which the music reflects with several references and groupings of 'three' from instrument selection in percussive elements, the lead, mid chords, and bass of the main timbres and the structure of the song itself with longer passages framed by two identical or similar shorter passages. Plus, the nod of Fuse being more 'Fusion' or the verb instead of the noun.

Bubbling Cauldron of Magic utilizes synthesized sound effects in a musical way to represent the intro before going into several high enegry lead motifs supported by a near constant thread of arppeggios to keep the pace and the audio depth interesting. They also provide a (very) slight homage nod to 'Karn Evil No. 9' and the title itself a nod to a person obsession [M:tg]

Rumble's Boon alludes to the general feeling that music gives a listener, even more so a deep listener. The 'Rumble' specifically is the low-end energy of this song stated to feel more than hear, with the rolling toms and the interplayed poly synth altering between treble and bass ends. The rumble that portends more to follow.

 January 2024

Explorations in the Progressive Long Form

{Part 9 of the Experiments and Explorations EPs}

The most ambitious, audacious, crazy, foolhardy, foolish, and intrepid experiment yet! One Song @ 20 minutes long. I have always been a fan of Progressive Rock, and boundary pushing music in general and within that, I definitely admire and accept the challenge that exists in writing an extended piece of music which carries a musical idea or threads one together for 10 or 20 minutes.  

With many references and humble homage to classical progressive rock epics, I present G Clef Fusion's EP: Tales from the Long Tail, an exploration  in the progressive long form. This presents several musical "tales" from the shrouded economic and musical market at the crowded opposite of the popular culture few. Each flavored with a moral of art for art sake. 

The track represents 30 "tales" titled as follows. The intent and encouragement is to listen in one focused sitting and let the music take you through the trial, tragedy, tribulation, and triumph of those from the place called the Long Tail. Filled with shifting tempo and time signatures. All with the G Clef Fusion styling and timbres of Piano, Organ, Synthesizers, Bass and Drums w/ some tubular bells for good measure. Hope you enjoy!

1) Intro

2) The Calling Bells of Afflatus

3) Peregrination of Solartistio

4) An Auditory Ostentation

5) Affected by Power Law 

6) The Paean Unmoored

7) Glitz Bedims the Spark

8) The Fork in the Road

9) Echoes as Onomatopoeia

10) The Quest for the Eclipsed

11) A Paragon in the Crowd

12) Effected by Power Law   

13) The Enlighted Inn of Conviviality

14) To Assemble an Ensemble 

15) Legacy to all Who Would Listen

16) Thick to the Edge with Animals from Ganton 9 and Cygnus X1.2

17) The Intersection

18) The Voices of Those Not Heard

17) The Motivation of Solartistio

18) The Baker's Secret

19) Map of the Land

20) Defined by Differences

21) Toll of the Hidden Path

22) AI of All Things

23) Assimilated by Similarities

24) Echoes as Onomatopoeia [Reprise]

25) Arrive at Wynwe Before Sunset

26) Monkeys Typing Shakespeare

27) Closing the Books

28) Power Flaw

29) Gytrash's Tail

30) Epilogue 

July 2024

Experiments or Explorations in ...

{Part 10 of the Experiments and Explorations EPs}

Find out what's next