— Seneca Basoalto, Plums & Arpeggio
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winter wind first 4 bars
its strange. completely disconnected from everything else. in real life, they were added as a suggestion to introduce the main melody before the ridiculous arpeggio things started, but theyve become the symbol of the piece.
a slow gentle introduction to chaos, the perfect fakeout for piano skill doubters, generally a very nice first 4 bars to listen to. symbolically (something never meant; this is an etude), its like a calm before the blizzard. like another winter wind, before the winter wind: a calm version that is just gentle instead of harsh.
maybe an autumn wind. personally, i like the idea of a gentle winter wind. one that is cold, maybe a bit lonely and a bit silent, still with a bit of the piercing cold, but one that feels more melancholic and wistful and gentle than angry and chaotic and viscious
i could tie this with the 岁寒三友, but they dont quite line up with my own perception. it could work but i dont have the willpower for it rn
actually i lied. i was writing the tags and i got something. like i love the idea of winter as calm and melancholic and gentle; lonely and empty and wistful. there is nothing here but snow. 天地一片苍茫。but then, there's the 岁寒三友。they are there, because these 3 (bamboo, pine and plum) would stay alive in winter. it's the whole premise of 《一剪梅》 (love is resilient and eternal like plum blossoms in winter or something). idk
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Gilbert Williams, Dance of the Nature Spirits
* * *
A Fairy Ballet
“Behold the spirits of the Elms, dressed in deep purple robes, upon their chests fine golden pendants in the shape of bunches of their trees' fruit, hanging from golden chains around their graceful necks. Or, see the Holly's genius, dressed in deep green bestrewed with fiery red berries which shoot out aureate jets of light, like stars. And the angels of the Ivy, wrapped in wreathes and coils of its own tendrils on which grow white blooms, large as roses. Here is the Poplar's guardian in her deep red frock, almost purple, with a flower, milky white, in her dark hair. There is the nymph of the Birch Tree, a most lovely maiden, whose dress is of the most beautiful yellow, green, pink and blue, all softly blending into an indescribable pattern, yet each shade distinctly seen. There are, too, the attendants of the Elder Tree in deep purple; the Mountain Ash in intense blue; the Pine in rainbow colours, a radiant flower in her tresses, shining over her head like a halo; and of the Yew in gold, mixed with azure, tiny elfin shapes clinging to her or nestling in her hair or sitting on her shoulders. And all these wonderful beings, and several others, one for each tree or flower, weaving in and out of the trees and bushes as if they were performing a fairy ballet. And all seemed to have a special quality of fiery radiance streaming out from themselves, as if they were alight within with a divine luminosity, not of the earth. And all the plants, large or small are sending forth a joyful Ballabile, to the music of which the nymphs perform their Balletto, accompanied by the Rarquarde, or Barcarolle, of the smiling river.
In the air resound the mellow notes of the woodlark and blackcap, the sprightly tones of goldfinch and linnet, and the occasional plaintive note of the robin, like a sampogna, or rustic flute, played con delicatezzo. A faerie like a sprinkled arpeggio brisé, mixed with the vellutata smoothness of a flute d'amour's flautando.
And there were too the spirits of the Box tree in deep cream robes; of the Lime in beautiful yellow, like gold-coloured diamonds; of the Ash in deep plum, fading into soft rich mauve downwards; those of the Brook Lime in light green, surmounted as it seemed with a delicate white mist; and of the Lilac in lustrous gold, and the Oak in deep gold, shining like Ra himself; for once upon a time the Oak was known as the tree that represented the Fire of the Gods on Earth. And all those nymphs, spirits and angels mix in happy groups, gallant and graceful, undisturbed by turbulent Man, the despoiler, and their movements are in the garbato style, elegant and dainty, con dolce manière, and papillons dance their chant sans paroles soundlessly in the air, as if they were singing a silent May-Song—a Maggiolata in the aerial key of F sharp minor, modulating into golden, warm and sunny key of A major, accompanied by the forest's whispered mormoramento. And in the far distance there sound the soft notes of a Pastorita, a shepherd's pipe; he calling to his beloved, sweet Pastourelle with the music of a Roundel, carried to her on the wings of the zeffiroso air.”
— Jean Michaud, Symphonie Fantastique
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Cocoa and Plums by Luke Sanger
from the album Languid Gongue on Lapsus Records.
This playlist is also on Spotify: https://bit.ly/music-4-programming
and Apple Music: https://music.apple.com/ca/playlist/music-for-programming/pl.u-NpXmza4CVAALN
"The album is a constellation of his signature sounds: freeform new-age fantasia; spring-loaded toytronic arpeggios; quartz-driven braindance clockworks. Drifting between consonant, almost lyrical compositions and shape-shifting textural sketches, the album drifts with the nonchalance of a sky-high cirrus cloud, and it glows as if illuminated from within."
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Chorus: What wakes me now? Not the brightness of
The rising sun. Not the chatter of birds warbling prayers
In disguise. Not that. Then who? It must be you. What
Will always be mine, but is no longer alive. A grief more
Deep than desire, yet takes no shape or size. What wakes
Me now? The truest thing — love for a man who doses and
Dies.
Seneca Basoalto - from the upcoming book Plums & Arpeggio
Poetry & Prose
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PLUM R-Type 1:100 R-9A Arrowhead plastic model update
May 11, 2017
After I bought a large bag of 30 3mm flickering blue LEDs in bulk, I was looking for a model to use them in. This model of the R-9A Arrowhead starfighter from the shmup video game R-Type Final by Irem. This model was perfect. It has four smaller thruster bells and one large one.
The four smaller engine thruster bells were the perfect size to accommodate these 3mm flickering blue LEDs. Drilling these out with my pinvise was easy.
Next I had to drill out the large, central engine bell to hold a 5mm flickering blue LED. This was far more challenging because this thruster bell was a bit more detailed and the center was not quite big enough for the 5mm LED. I somehow managed to get it working.
I have some cool ideas for the cockpit. Inspired by the pilot suits from the Macross: Do You Remember Love? animated movie, I have a plan to paint the harness of the pilot figure fluorescent yellow and the helmet mask with fluorescent blue and make them glow. I don’t want to go overboard, so I will limit the fluorescence to the harness and helmet visor. To achieve this, I’ve been buying several of Gaia Notes’ glow-in-the-dark, fluorescent lacquer paints in their Arpeggio of Blue Steel paint line that is marketed for the Arpeggio models made by Aoshima, Hasegawa, and Tamiya. I am hoping that I can also use these paints to paint some lines inside the cockpit to simulate buttons.
So how will I accomplish this glow? I have a pre-wired, ultraviolet SMD LED from HDA Modelworx, the same place I got the 5mm flickering blue LED. I drilled out a square where the front console would be in the cockpit.
What I did was cut out a square from masking tape to use as a template and drilled out some holes and used my hobby knife to take care of the rest.
After filing the hole a bit, the UV SMD LED now fits right into this square!
The next task is to light up the force orb. The kit has a plastic ball, about the same size as a ping pong ball. The token gameplay in the R-Type games (save for R-Type Leo) revolves around a force orb. This is how you power up your ship in the game to increase your firepower. It is indestructible, so you can use it as a shield and launch it into enemies. This gameplay has been replicated such as SNK’s Last Resort and Konami’s Xexex, but Irem’s R-Type is the original.
The trick is how to light it. Light from typical LEDs tend to be rather focused. I requested input from the members of the Sci-Fi Model Action forum on how to go about this. The problem is that that this ball is made of nearly-transparent yellow plastic and any lighting source would be very obvious.
This force orb has four “arms” around it, and my plan is to attach a small SMD with a 120 degree shining radius to the plastic pegs that fit inside of the ball when they are attached. I used a 400 grit Tamiya sanding sponge to roughen up the exterior and interior surfaces of the two halves of the orb pieces. Then I went over these again with a 600 grit sanding sponge. After that, I washed them off with water. Once dried, I airbrushed them with Mr. Color Flat Clear with Flat Base added to it. This new surface refracts light very well and is no longer translucent.
I used magnet wire due to its thinness to wire these four lights in parallel. I measured how far between the holes around the circumference to which these arms attach and cut the lengths of these wires accordingly.
Looks nice, doesn’t it? Here is a test fit.
I’m currently also working on building and lighting-up a 30th Anniversary Revell Battlestar Galactica Cylon Raider model kit. I must say that this R-Tpe project is far more interesting. Follow this build on my YouTube channel.
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Exquisito Danish de Ciruelas con el mejor de los cafés. #arpeggio de @nespresso #plum #danish #breakfast #best #nespresso #coffee #versace #china #beautiful #lifestyle #lifestyleblogger #fashionista #foodie #foodporn #pastrychef #plums #prune #delicious #gastronomy #kosher #shabbat #shalom #gourmet #gourmand #goodmorning #travelblogger #cheflife #instachef (en Aventura Lakes, Miami, Florida)
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NEW STUFF FRIDAY 22nd SEPTEMBER 2017
New Release Comics & Magazines
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TIME LORDIN UNDERGROUND T/S XL
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PHONOGRAM TP VOL 02 SINGLES CLUB
PROPHET TP VOL 03 EMPIRE
RAT QUEENS TP VOL 03 DEMONS (MR)
RED HOOD & THE OUTLAWS TP VOL 01 DARK TRINITY (REBIRTH)
REVOLUTIONARY GIRL UTENA DELUXE HC BOX SET (MR)
RICK & MORTY HC BOOK 01
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ROBIN THE BOY WONDER A CELEBRATION OF 75 YEARS HC
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SAGA TP VOL 07 (MR)
SAMURAI EXECUTIONER OMNIBUS TP VOL 02 (MR)
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SANDMAN TP VOL 03 DREAM COUNTRY NEW ED (MR)
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SANDMAN TP VOL 10 THE WAKE NEW ED (MR)
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SNOTGIRL TP VOL 01 GREEN HAIR DONT CARE
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Task 1 Creative piece
https://youtu.be/IDO6aQyG-AY?list=PLhBaMhnQdc4AD4AYK0bOY9sXLdinF_xQp
(Song composed and recorded in FL Studio)
The song follows a basic ternary form (the song’s divided into 2 sections: A and B. It uses the form AABAB with an introduction and coda (finishing piece)).
Introduction Bar (0-16):
There are 2 leitmotifs in the song. For now we’ll call them “Plum flower lullaby” and “Kyota’s theme”.
In the introduction, the listener is introduced to the first leitmotif (a recurrent melodic pattern associated with an idea or character, in this case a character). Albeit we hear a variation on it. This is mainly sustained notes on the brass instruments to build suspense, giving a grander yet somber adventurous tone.
Trombone melody: (ACD CB GAB C A)
The first 3 notes will stay consistent each time the melody is played, cluing the listener into the beginning of section A. However the rhythm changes to adjust the mood of the song.
Low Brass:
This plays an Fmajor chord in a ♩- ♪ (1/8 rest) ♪ (1/8 rest) ♪. rhythm before playing the sustained notes as well. These notes harmonise with each other creating an Aminor add 9 chord and A minor chord.
Plucked!:
The plucked! synth here plays a sparse arpeggiated (broken chord), focusing mainly on the A minor chord. This harmonises well with the brass instruments since it contains the same notes.
Bar 3 of the plucked! synth (rhythm) is also repeated on Bar 4 of the Trombone which helps unify them. ( ♪ ♪ ♩ )
High Brass:
This plays a crescendoing high A which signals the beginning of the next section.
Section A (Verse) Bar 15-48:
The melody is first played on Plucked!. The main theme plays here for the first time. It is then repeated on the violin with some slight variations. Whilst the first 2 notes are on an off beat (not starting at the first beat of the new bar). This transition is smoothed over by the fact that it plays the same rhythm as the first 2 notes of bar 4 Trombone.
On the second play through, plucked plays a soft arpeggio, loosely based around the violin’s rhythm. This is particularly shown when they play a scalic melodic and rhythmic pattern (Bar 43-47)
Brass transition:
The transition is the same melodic pattern as Bars 8-16 albeit the rhythm was shortened.
Section B (Bar 48-64):
This section is in F Lydian rather than A minor. (Basically the same scale but with emphasis on F rather than A)
Main Melody:
A piano plays the second leitmotif here. The melody begins in the same octave as the violin melody. There’s a leap from A to F establishing the new key. This works quite well since the Aminor chord (in the last bar) shares notes with the Fmajor chord of the new key (ACE and FAC, respectively), making the transition feel more harmonious.
Chords and Percussion:
The sustained strings and Plucked chords further unify the piece by playing sustained chords on the 1st beat of each bar, similar to the strings in the verse. The tambourine also takes on the rhythm of the Timpani albeit giving a lighter tone to match the new section.
One of the cello’s plays the same rhythm as the piano in bar 53. Though the notes are slightly different. (BCB and DCB respectively). The unifies them through harmonisation.
Clarinet:
The clarinet also harmonizes with the piano on bars 50-52 and 61-63, sharing the sharing the same rhythm.
The clarinet transitions back to Section A with an ascending scalic pattern, ending on a long sustained note. This idea will be repeated again to show the listener, the song will transition into Section B and later the coda.
Section A2:
The main difference here is the piano repeats the Plucked! Arpeggio to give more variation. The violin plays generally the same rhythm as the main melody (bars 63-72). Though in this case the violin melody, harmonises with the main melody.
The high brass on the other hand plays a harmony of first 3 notes of the main melody whilst mixing in the rhythm of the low brass instruments.
This gives Section A2 a fuller feel whilst keeping it cohesive.
Section B2:
The last time Section B plays, the “Plum Flower Lullaby” leitmotif, is repeated along with “Kyota’s theme”. Although there is slight variation with it. In this case the upbeat instrumental of “Kyota’s theme” provides new context to the “Plum Flower Lullaby”. The emphasis on F lydian (major mode) causes the “Plum Flower Lullaby” to gain a tender yet hopeful tone.
Coda:
Finally the song ends on a somber note. The “Plum flower lullaby” is played on a piano, echoing the way the introduction. However, playing on the high notes of the piano gives a distinctly lonesome and delicate sound. The rhythm and melodic pattern is repeated again. Although there is variation with broken chords and sustained chords mixed in
https://music.tutsplus.com/tutorials/an-introduction-to-form-in-instrumental-music--audio-23381
Creative References:
Akatsuki no Yona Beginning:
More or less used as a reference for the orchestral asiatic music style. The kind of melodies used south east asia and the poignant yet mysterious feel.
https://youtu.be/CmH4BAd_Wjw
Battle Against a True Hero:
Used it for ideas on how to use padding (strings/synths in this case) to fill out the song whilst giving an epic heroic esque sound. Also used as inspiration for section B. Though I changed around the instruments and the key so it feels less like a hero’s desperate attempt against an invincible foe and more like the moment when the hero is pulled out of despair. Either by her own strength or the strength of those around her. Thus she’s able to stand another day.
https://www.youtube.com/watch?v=xX_imE4zKD4
Bergentruckung:
Lastly, I used this for inspiration because I liked how it repeated other leitmotif’s through out the game giving much more meaning to the boss fight against Asgore. He’s not simply another enemy to cut down. You can hear his reluctance and anguish during the fight through Toriel’s “Heartache”. Yet you can also hear his grim determination through the hero’s theme “Determination”.
I also liked how it starts with a slow introduction before increasing the tempo once the battle begins. I wanted to mimic that.
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— Seneca Basoalto, Plums & Arpeggio
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Heroin makes you green, and handsy
you see a hundred men strapped in my hair, my
perfume – silent strep – you crush plums between palms
& jump from a fire escape to suck peninsular toes between
grainy teeth
You’re burning up.
En el viento de la noche desde la tierra
Half of you is dead in a mouth that triggers adolescence,
unafraid of Mexican mud, mold, clay, cantinas made from diners
deciphering the fiction of a name
just before dawn just after blowing me a kiss
that binds to your arteries
pure, just before sunlight, a cold climate and Christmas trumpets;
your jealousy is uncomfortable; trypophobia, bed crumbs, the word “moist”
stares that have been exiled you mock my childlike iciness
when your stumpy scripts are guilty & gorged on daughters
provinces are pulsing nesting my eyelids
Connecting us by incendiary laces – you crush plums between palms
you crush me with soul and apprehension that melts with cemeteries
in the heart, a crush, of salty repression, your eyeballs shake, your waist
waits for numbers
but heroin makes you green, and handsy.
Seneca Basoalto - from the upcoming book Plums & Arpeggio
Poetry & Prose
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Writers Update
1) Today I started work on my 2nd Poetry book - titled Plums and Arpeggio. It will be a short-length poetry book of approximately >30 pages. It’s a bit of a concept book, with the main subject being about the life and death of the man I was in love with my whole life/who was also my best friend. Because it’s meant to be an honest account of my loss, as well as my attempt at closure, there will be a lot of content on love, sex, and drugs. I am hoping to have the book completed by June 1st.
2) I am also currently working on the timeline for my longstanding Novella Kindred Folk & Paper Maps. The plot of the story is a spin on a real life situation I’d encountered years ago, that previously I’d turned into a short script, but now am aiming to adapt it to a novella. I’d prefer not to share the plot publicly on here since I have a tendency to over-explain; but thus far it’s been praised by many of my professors and artist colleagues as being unique with an audacious and provocative spin on an often taboo topic. If you’d like to know the plot, feel free to message me and I’d be more than willing to share it with you if you’re interested.
3) Still (somewhat) working on my Self-Help Book of Bullshit. It was coming along rather rapidly until I decided to start working on the Novella and my 2nd poetry book. The SHBoBS is going to be on a bit of a halt while I work on the others…priorities, ya know? I still plan on writing it, but not nearly as diligently as the others at this time. I’ll probably continue it in bits and pieces in passing.
That’s it. Thanks!!
| Seneca Basoalto |
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Fourteen Different Sighs
There were fourteen different sighs in my vocabulary, he said, ten times a week. Ten times fourteen is one hundred and forty, and one plus four is five – and five is one of five numbers that doesn’t make me nauseous, like dirty four. How he’d say the number arbitrarily just to watch one of my fourteen sighs gag from my throat.
Plums and arpeggio on his tongue. Plums that were a quarter size of his whole palm. Plums that could fit two at a time inside his mouth. Making me count math like a commoner, or stagger away from him with eyes rolled double on sigh number three. Two sighs for one. Elicit one sigh, get one free.
I learned the hard way to keep individual, inconspicuous, use language to skip pentagrams around dialogue so whomever is trapped on the otherside of the conversation hears everything without absorbing anything.
Philip taught me that. He memorized my fourteen different sighs and directed my speech until nothing I said made sense to anyone – not even him three quarters of the time. Not because it didn’t have substance, but because the common person was prone to dragging their train of thought through the surface of every conversation. Anything that contained more than one or two layers of consideration was instinctively dismissed. Even the term “black” when used as a fall fashion trend triggered in me the urgency to remind anyone in my vicinity that before existence itself was created, there was nothingness, and nothingness was black.
I had to wear brown and call it a day.
Of course this backfired on me later in life when I had four husbands, three friends, two enemies, and zero people who knew what I was talking about, ever. Philip had died. The cat I named after him died. And all I had left were fourteen different sighs that allocated me into maps to create the sum of division.
Seneca Basoalto | Poetry & Prose
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