Electronicus Majoris: Beethoven 9th Symphony:Allegro ma non troppo, un poco maestoso by Wintermut3

Somewhere in Time, or is it Space where seconds run from -1 to 1 and x is always -(infininity) or even the cube squared root of that lies a crossroads where if you watch long enough you will see the sun seem to collaspe on itself the light ebbs backwards as Infinates that defy any concept of time or distant cross or pass at a crossroads that is perpendicular to itself as it crosses to the 4th dimension and then passes to the 7th. They pass silent or maybe all of sound that ever was or will be, travels between these Giants of Giants in a matter of seconds.... watch and learn and you too will know of the Infinate and thier infathomable roads...

Another driver for this song was Image-lines new soft synth "Kepler" which is a VST plugin that is a Roland Juno-60 (all the way to the UI of Kepler which has the very distint "pre-flat" Juno/Roland for the 1970s.--"Flat' wasn't a new look, it was a "reboot" of what colors and even "styles" which most of the computer hardware of the mid 60's to 70's had... If you have a licence to FLSStudio 21x, I highly recommend spending time with "Kepler" :)

in the tags I listed "Progressive Ambient" a genre that sadly never existed, but many times when I first started that was the label my songs got from artists and fans. They would say: "I know there is no such thing as "Progressive Ambient", but if there was... that is what your song "X" would definately be :) so... even though it has been a long time since I tried to do this, I felt that this song, was truely Progressive Ambient.

"Transition(s)" has many contexts including musical. While there are musical transitions in this piece, the scope of the context is much wider than music... Transitions effect/affect us all, hopefully this one wll have a positive effect on you.

composition: C, G, F, E these four notes are moved through : Major, Minor, Sus 4, Add9, and lastly and most complexly Min7 (#9) I orginally wanted 4 notes moving between 4 chords/mods but the flow was better with 5, besides transition when you look at all stages are seldom symetric in any contexxt ;) so section A is that progress, then section B is InvD-Mid Second, however the score for that progression is flipped on the X axis, so overall the structure is AABAA however the A's are very varied in terms of voice.

Voices:

3x piano,

Stacc Violins,

One Massive pad,

One Harmor pad

When I was working on KV 626 : Mozart's Requiem, I became very intested in the Medieval Poem "Dies Irae" when I found this vocal.. I knew I wanted to do a song similar to my "Nation of God" where I set Pope Benedict XVI to a beat

From the Wiki:

"Dies irae" (Ecclesiastical Latin: [ˈdi.es ˈi.re]; "the Day of Wrath") is a Latin sequence attributed to either Thomas of Celano of the Franciscans (1200–1265)[1] or to Latino Malabranca Orsini (d. 1294), lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas (the Angelicum) in Rome.[2] The sequence dates from the 13th century at the latest, though it is possible that it is much older, with some sources ascribing its origin to St. Gregory the Great (d. 604), Bernard of Clairvaux (1090–1153), or Bonaventure (1221–1274).[1]

It is a medieval Latin poem characterized by its accentual stress and rhymed lines. The metre is trochaic. The poem describes the Last Judgment, the trumpet summoning souls before the throne of God, where the saved will be delivered and the unsaved cast into eternal flames.

It is best known from its use in the Roman Rite Requiem (Mass for the Dead or Funeral Mass). An English version is found in various Anglican Communion service books.

The first melody set to these words, a Gregorian chant, is one of the most quoted in musical literature, appearing in the works of many composers. The final couplet, Pie Jesu, has been often reused as an independent song.

Regardless of thier existence, they live in each and every Ukrainian.This song is built on that spirit.

May the Ghost of Kyiv live in all of us, May that "Spirit" free Ukraine.

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Update 11-6-23 Added a new mid break and a very "active" slap bass

If you have seen the movie "Rounders", the you know what the context of "mechanic' is in this track

a lighter version...

Still WIP, early share--front end still needs work. All orchestra structures have been replaced with 'non-traditional' electronic elements (Woods, Brass, Strings) Choirs have are completely entact of course. MTC

Finally decided to remap the Strings for 4 string part (Violin 1,2 Viola, ContraBass) from the tradional (IK Multimedia Miroslav Philharmonik 2, yes my secret weapon when it comes to these types of creations) to pure analog synths (via Syntronik 2, NI's Massive, IL's Sakura, etc) Some of these voices are still "string like" but are fully modeled via Sakura.

Early WIP, MTC , Hybrid Tranditional vs Pure Electronic voices with focus on Analog Synth. This version "Minoris" is about 50/50 pure electronic instrumentation/voices(analog synths via IKMM Syntronik, NI's Massive, etc) to traditional voices used in this piece (Oboe, Bassoon, Trombone, etc). There will be one more version, "Majoris" which will all but the choral voices pure eletronic--the voices of course are also electroniic, but are 'pure' in nature and tonality. I am working on a vocode solution to maybe get the Latin back in the piece, but this is a highly experimental process(using the non worded choirs you here in this piece as a "carrier" and they voice generating the latin) in nautre and despite early tests working, it may not yield the results desired and will burn up a great deal of time trying to vocode that amount of text, but we shall see--if it works, the. result should be closer to real "speech"/singing and not a robot...

10/9/23 this may be the final mix--I still have a few tests to do--of this version of my KV626.. overall all I wanted the Vox and the Electronic elements balanced in both presence and clarity, I think this mix has that, the proof will be in the Sub-Freqency sounds at key parts of the Mass, especially when those electronic voices start to resonate with the Basses in the Choir. Now on to the full electronic version and something I want to do around "Dies Irae", despite the subject as implied by the title I just mentioned, this work will be a chance to cut loose from all this seriousness--this is what I get for recently watching "Amadeus" for like the 8+ time or more--but seriously, I have wanted to do KV626 for a very long time...

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Sections: Below is detail of the 12 midi sections that were used

Requiem in d minor, KV 626

1) I. Introitus, Requiem, II. Kyrie, III. Sequentia

2) Dies irae

3) Tuba mirum

4) Rex tremendae

5) Recordare

6) Confutatis

7) Lacrimosa

8) V. Offertorio, Domine Jesu

9) Hostias

10) V. Sanctus

11) VI. Benedictus

12) VII. Agnus dei, VIII. Communio, Lux aeterna

Legaendry work, WIP...MTC

i plan to offer this massive complete composition, and another one broken into major movements...

Sections: Below is detail of the 12 midi secrions that were used

Requiem in d minor, KV 626

1) I. Introitus, Requiem, II. Kyrie, III. Sequentia

2) Dies irae

3) Tuba mirum

4) Rex tremendae

5) Recordare

6) Confutatis

7) Lacrimosa

8) V. Offertorio, Domine Jesu

9) Hostias

10) V. Sanctus

11) VI. Benedictus

12) VII. Agnus dei, VIII. Communio, Lux aeterna

just to map these 13 sequences took over 11 hours .