ELWOOD HERRING'S MUSIC CATALOGUE

ELWOOD HERRING'S MUSIC CATALOGUE
All music and noises © Copyright Paul A. Williams aka Elwood Herring - Please read these notes before downloading
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Aurorae for electronic organ

Opus: 17
Length: 31 minutes
Instruments: farfisa organ, electronic feedback effects, tape effects
Composed: 1980

Atmospheric and eerie, like church organ music through the looking-glass. The only instrument used was the Farfisa organ but with a certain amount of post-processing and sound manipulation. (the limit of my ability in 1980 anyway, but with some reverb and a bit of polish added more recently.)

The piece falls into three distinct sections; part 1 is a slow build-up from silence to an ominous wall of sound which abruptly cuts off. The second section is the meat of the piece; a long plaintive solo which gradually disintegrates into chaos. The final section is basically a repetition of the first.

Free download available on MegaUpload, or download the whole Sinister Concertos album free from here.

Part 1 A slow quiet start with jagged dissonances gradually builds up in speed, volume and general creepiness to a huge crescendo with swirls and washes of tortured chords. Just as the terrifying excursion reaches its peak the sound cuts off abruptly.

Part 2 This starts with a long plaintive solo with harsh electronic effects. Although the music is fully tonal at this point, the notes of the scale on which it is comprised seem to clash and tear each other apart. A smoother but still tortured solo starts up, but overlaid with regular disruptions that attempt to drown it out - sounds trying desperately to break through from another dimension. Gradually the duality of the music becomes more apparent - tonal but tonic-less melody clashing with harsh distorted discordant objections. Eventually the argument disintegrates into a whirlpool of sound which cuts off again abruptly in a similar fashion to part 1. There then follows a passage with skittish nervous sounds - ultra-fast stabbing chords which lead into a coda played on a solo distorted organ. This gradually fades and descends to a low C - the only harmonic part of the whole piece.

Part 3 More or less a repeat of part 1 but with a bit of added terror.

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	Aurorae for electronic organ Opus: 17 Length: 31 minutes Instruments: farfisa organ, electronic feedback effects, tape effects Composed: 1980
	Atmospheric and eerie, like church organ music through the looking-glass. The only instrument used was the Farfisa organ but with a certain amount of post-processing and sound manipulation. (the limit of my ability in 1980 anyway, but with some reverb and a bit of polish added more recently.) The piece falls into three distinct sections; part 1 is a slow build-up from silence to an ominous wall of sound which abruptly cuts off. The second section is the meat of the piece; a long plaintive solo which gradually disintegrates into chaos. The final section is basically a repetition of the first. Free download available on MegaUpload, or download the whole Sinister Concertos album free from here.
Part 1	A slow quiet start with jagged dissonances gradually builds up in speed, volume and general creepiness to a huge crescendo with swirls and washes of tortured chords. Just as the terrifying excursion reaches its peak the sound cuts off abruptly.
Part 2	This starts with a long plaintive solo with harsh electronic effects. Although the music is fully tonal at this point, the notes of the scale on which it is comprised seem to clash and tear each other apart. A smoother but still tortured solo starts up, but overlaid with regular disruptions that attempt to drown it out - sounds trying desperately to break through from another dimension. Gradually the duality of the music becomes more apparent - tonal but tonic-less melody clashing with harsh distorted discordant objections. Eventually the argument disintegrates into a whirlpool of sound which cuts off again abruptly in a similar fashion to part 1. There then follows a passage with skittish nervous sounds - ultra-fast stabbing chords which lead into a coda played on a solo distorted organ. This gradually fades and descends to a low C - the only harmonic part of the whole piece.
Part 3	More or less a repeat of part 1 but with a bit of added terror.