Stuart Hinds-stuarthinds.com-Singing over the tone

Sound Clips

Dear friends, colleagues, and overtone-singing aficianados:

Many of you have been waiting for a long time for me to release my second album. The music has all been composed but the recording process has been slow (you know how much I love recording!) Anyway, you have waited long enough, and I need to move on.

I have decided to make the new album, Ageless, available for free download on my website. My intention is to post the mp3s and program notes one or two at a time, adding new ones approximately every month.

Stuart Hinds - Ageless

1. Dawning	Dawning is the most highly orchestrated piece on this album, but it started as a simple succession of six dyads with gradually contracting intervals. The keyboard sound used to play the progression actually produces three pitches with each key press, so each dyad can generate a chord of up to six notes. The upper note of each dyad stays on the same pitch while the lower notes ascend, creating the rising effect that inspired the title of the piece.
2. Invocation
3. Northern Lights
4. Petra	Petra was composed for Chris and Tim Ellis, two overtone-singing friends that I met when traveling in Germany. They were father and son: the father was married to a wonderful lady named Petra and the son had a girlfriend called Petra.
5. Vision 1: Fearful	The idea for Vision 1 – Fearful and Vision 2 – Peaceful comes from two sections of the Tibetan Book of the Dead entitled “The Dawning of the Wrathful Deities” and “The Dawning of the Peaceful Deities.” Vision 1 is an improvisatory work in which several extended vocal techniques are employed, representing the fearful apparitions. “Do not be frightened. Recognize these fearful apparitions as your own thought-forms.” In contrast, Vision 2 employs diatonic harmonies and colorful orchestration to represent the peaceful deities who appear as various colored lights.
6. Vision 2: Peaceful
7. Dorian Fields	*Dorian Fields* is a somewhat ambiguous title. One might recall images of an idyllic countryside, but the term “fields” is used here in the analytical sense referring to regions or spaces differentiated by some attribute or criterion. In this case, the fields are contrasting musical textures. The form of the piece is fantasia-like, moving freely from one musical texture to another in a rather impromptu manner. The sections are unified by the strict adherence, both melodically and harmonically, to the Dorian mode.
8. Light	Light is all about chord quality and spacing. The keyboard sound is designed to play only six notes at a time. The sustain pedal is held throughout the piece as new pitches are added one at a time. When the seventh note is played, the first drops out, and so on, creating a texture of gradually shifting chords. The vocal part is a kind of obbligato with either the overtone or the fundamental pitch reinforcing the changes in the keyboard part. The listener should appreciate the effect on the chord quality and spacing as each new pitch is played in the keyboard part.

Read the Review of Stuart's New CD

1. Overtone Series on G	mp3
2. Two-voice counterpoint for solo voice - excerpt from Renaissance Man	mp3
3. excerpt from Petra	mp3
4. excerpt from Tuvan Groovin'	mp3
4. excerpt from Last Call	mp3
5. excerpt from The Blues	mp3
6. excerpt from Goodbye Ravi	mp3
7. Vision 1 - Fearful	mp3