Zed Oop Aw, Zeh Too Paydee Kay by Amado Ohland

What better way to learn about your Augmented Sixth chords?

It started as a song to sing to people on Sunday the 28th of March (which didn't happen, but no matter), and as an experiment in using a "neutral third" scale degree (halfway between minor and major).

Turns out, I didn't feel like I'd gotten the Neutral Third to work. It just sounded disturbing.

I made some adjustments, and the part in question is a little more conventionally bluesy now, using the minor AND the major and sliding between them. But some relics of the experiment remain in this sound, and I hope they lend it a bit of grime, a bit of organic dirt in its bones.

It's So Very Friday by Amado Ohland

Why Change Your Quest? by Amado Ohland

I try the 57% swing (sort-of halfway between straight and 'standard' swing), based on septuplets.

NO, i cannot do this yet without studio trickery. The test—the proof-of-concept—is: does this sound straight, swung, or kind-of in the middle?

If I listen to this, maybe I can learn this feel.

Will It Sway the World? by Amado Ohland

Traditional Cuban. Arranged by Brian Tate.

I tried some "minimalist"/procedural things with it that make it go too long; it's static, or requires a long attention-span to appreciate the ways in which it gradually changes from "texture A" to "texture B" and back again.

Modified Arch Form—see if you can trace how it goes forward, and then backward.

Just a trifle, really, but I am attached enough to it to include it as an example of my compositions. Short, under three minutes. Initially written for 4 brass, I liked it enough that I doubled its length and scored it for standard Brass Quintet. Enjoy.