MP3 Claudio Guiragossian - New Ancient Paths
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16 MP3 Songs
WORLD: World Fusion, NEW AGE: New Age
Even though âNew Ancient Pathsâ contains instrumental music, you can still read about the emotions behind the songs.
When Emotions Rule
It may happen that one meets someone special, and is impressed by the personâs virtues and that inspires one to create a work of art. As time goes by, it reveals that that person may not be so special or so virtuous. The motivation is gone. The emotion vanished, but it was engraved in this musical piece.
Autumn Has Arrived
It hailed in the city on a gray afternoon. After a while, I went outside to see the scene: one with trees without their leaves on the white sidewalks; one that inspired this musical piece for flute and piano. Fall had begun.
This musical theme was born from a piano improvisation that I played and recorded at home in the early ' 80s. About fifteen years later, I came across it when organizing some old tape recordings. I listened to it again and I liked it. I began to work on it and here it is.
Melody of Youth
This simple song is revealed by the piano, first alone and later accompanied by an instrumental ensemble. As simple as that.
Blue Buenos Aires
In a cobbled alley of Buenos Aires, their stones are dampened by the dew of a foggy dusk. Everything is becoming stained with a blue color. The contours of houses and buildings blur as it drizzles, like brush strokes that are shaping a bluish degradée on the city.
New Ancient Paths
Melodies and rhythms from the worldâs different regions and eras take part in this sonorous landscape like paths that were journeyed, are journeyed and will be journeyed again... eternally.
In the orchestral version, more than 30 instruments of diverse origin mix together taking turns, singing melodies, counter-melodies, playing harmonies and rhythms, blending music from the East and West, from medieval times to the 20th Century.
In the piano version, the right handâs function is to expose the melodies while the left hand plays chords with no attack. That is to say, the piano keys are lowered totally without emitting any sound at all. But when the right hand is playing a melody, the left handâs âmutedâ chords can be heard like a misty resonance, contributing the necessary harmonic substratum to complete this musical picture.
The Return of a Soul
April 5th, 1982. I was seating on a bus, returning home from the funeral of my musician friendâs grandmother. I was recalling what I had been told moments ago about the devout life that woman of faith had lived, when I began to hear a melody from within myself. At the same time, I visualized the scene of the grandmotherâs soul leaving her body and heading upwards; only as if it were diverted to another direction, taking a stroll to certain places, and later returning to her initial path towards beyond, from where she had hence come. These three sections from her "return trip" were shaped in this musical piece as a melody with accompaniment, a short improvisation through different tonalities and then back to the initial melody which becomes subtler towards the end, raising more, becoming sharper, slighter... towards the Infinite.
It represents an imaginary epic musically portrayed in six episodes of warlike days.
Outpost I: The piano leads the offensive that is harangued by warrior brass instruments. Also the fretless bass collaborates with a quick solo in the front. Right when the piano becomes more incisive, this part suddenly links with the next contrasting episode.
Pastoral: This calm scene takes place in the clearing of a forest that surrounds a small old church. The piano chords are transformed into chimes that accompany peaceful french horn solos. The string instruments complement the landscape only until the tolling of the bells is left alone, each time becoming fainter and fainter, and more distant. We are returning to the battlefield.
Outpost II: Although it is similar to the warrior like first episode, there is a greater piano participation here, the brasses and the bass, which attack jointly and alternately, ending this part with a strong hammering of a very low piano note...
Nocturne: â¦on which great arpeggiated chords are descending, as distant layers of reddish clouds in the horizon, indicating the nighttimeâs birth. From then on, an intimate and nostalgic piano raises its deeply felt song, full of meaning, but hidden in the nocturnal thickness.
Melancholic Dance: This dancing movement is moderate and dispassionate. The piano, flute, spanish guitar, and contrabass express the turns creating a discreet musical choreography. There is no joy in it. It is just a pause in the battle. There is nothing to celebrate. Although the memories overwhelm, it is necessary to be alert of what is to come.
Outpost III: It is the final onslaught. The piano, the bass and the thunderous brasses receive the support of percussion instruments, and advance until a crescendo impels them to the tutti fortissimo of the final victory.
While my fingers were running up and down the keyboard, I imagined the piano bathed in a tenuous violet light in a dark room. The low sounds decided to repeat their rhythm almost monotonously, achieving certain hypnotic effect. Neither did they change their main note, persisting in the same tone... purplish.
Infinite Cosmic Cycles
A cyclical sound that breaks the cosmosâ dumbness begins to arise from nothingness. These arpeggio cycles are increasing and decreasing in height and intensity. As background, a series of low and long sounds can be heard, as if it were the universeâs background radiation. After a few minutes, all this music starts disappearing little by little...
About the artist:
Claudio's first years were enchanted by the symphonies of Ludwig Van Beethoven. At this stage, he began to improvise and perform in a Harmonium while experimenting his first compositions. In his adolescence, he took private lessons on piano as well as ear training. It was then when he began to intensify his work as composer, arranger and performer. From then on, he will be enriching his career by taking music classes and being part of groups of different musical genres (mainly Tango, Folklore, "Classical", Jazz, Melodic and Latin) in which he participates as keyboardist (piano, organ and synthesizer), arranger and composer. At the same time, his performances and recordings gain recognition in and outside his country, Argentina.
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