User:Le Musique de Viola Matronalis/sandbox

History
Le Musique de Viola Matronalis the 'Brain Child' of G. W. Ward Jr. (born October 11, 1971) is an American Composer, Artist, Tailor, Photographer of Los Angeles, California. Best known for his work on all of the 'Le Musique de Viola Matronalis' musical compositions, from the early 1990's to present. Known for frequent excursions to the Public Library in Hillsboro, Oregon where he lived at the time, the naming of this group began during a series of intensive resesearch regarding various plants and flowers discovered and catalogued in the Comprehensive (Botanist) study of current and extinct plants and flowers. After much deliberation, the Violet would be chosen as the central focus behind the name: ''Le Musique de Viola Matronalis."

The precepts, while largely based upon Cinematic themes come to expand upon/include Ballads, spatially 'textured' sound, as well as acoustic reminisces captured by instruments from various points of the global points of the compass. Utilizing a generous share of Stories, as well as Soundtrack Incidentals via Electronic synthesis and Strings, Le Musique de Viola Matronalis draws heavily upon a 'modernist conceptual' approach. Which always tend to be very 'comfortable shoes to fit in' this Composer, due to extensive knowledge about musical theory, culture, history, and 'found sound.'

Musical Influence
As a Producer/Independent Label/Writer his own private column, Tailor-Designer of [Period Waistcoats]], Futurist, cites Composer Jean-Baptiste Lully, Lutenist Daniel Bacheler, Jimmy Reed, songwriters Julian Lennon, Peter Murphy, and David Bowie; for compositional depth Tom Waits, as influences which have all shaped his mode of Trend Setting musical design. As well as Danny Elfman, Eric Satie, Arcangello Correlli, The Cinematic Score to The Day the Earth Stood Still, and Ludwig Van Beethovan.

Musical Independence and Approach
At times, the calibre, or spectrum of 'compositional contrast' moves organically through old world themes,' and at other's times -'futurist oriented.' However, the convincing approach is always the same: ...the secret intrinsic value of the common thread.'''

""Vocal""

In discussing the simple vocal qualities of certain Electronic compositions, Stories, and Acoustic Ballad material one swiftly realizes how the "vocal style" purposely differ's from song to song. Exhibiting a 'chameleon' effect with the ever evolving colour of each Vocal Project, a tremendous amount of navigative forethought and thematic direction is often recognized, through-out.

""Independence""

A vast quantity of the 'physical' music 'published' also appear to include the creative contribution of other musicians, however, again, the 'standing' right to perform, record, produce, and independently release all musical content lies resolutely and primarily his own.

""Approach""

After more than 20 years of compositional writing/recording/production, the name Le Musique de Viola Matronalis serves as a 'hallmark' to what inevitably and naturally characterizes the category of music. According to the Author and Executeur: In terms of individuality, just by name alone, there is a kind of elegance, gracefulness, a uniquely organic nature in the arrangements visualized in my head...this visual quality predisposes'' the compositional identity of the music, therefore, making its objective for diversity, and my goals quite clear. So when I sit down to write, the inclination to follow the trail of figurative breadcrumbs almost always leads me to great ideas."

As a musical group comprised of one ‘singular’ musician with more than 15 albums, and upwards of 500 unpublished musical material yet to be published, the 16th album would never see a release; it being a compilation of previous work with few 'newer' compositions which at the time lacked the coalescing congruity which the dominant theme for the final album: 'Not For Sale,' clearly exhibited.

Discography

 * Le Oubliette, (c)1990 - This was a very interesting work, as it was recorded in a music studio somewhere between Cerritos and Cypress. Each piece, while all on Grand Piano have among them 2 very specially reserved compositional pieces based on: 'Romantyq Scriptorii.' A dark, Romantically charged piece of music.
 * Modus Vivendi, (c) 1998 - An album heavily devoted to the classical guitar. There are over 14 pieces of diverse compositions on this particular disc.
 * Moon Over Paradise, (c) 2001 - Concept Album.
 * Le Fete de L’avie L’Amour et L’Art, (c) 2005 - Concept album.
 * AE, (c) 2006 - Concept Album
 * Requeil de Musique Favorite, (c) 2005 - Concept album.
 * Supernova, (c) 2005 - Concept album
 * Le Cirque de Sonneteer’s, (c) 2006 - Concept album
 * Q, (c) 1999 - Compilation as well as intermingling with 'unknown' music and Published music.
 * The Story of Ol' Skip Jones, (c) 2002 - Concept album
 * The Time Honored Delicacy of Jonathan Allin Linley, (c) 1999 & 2010 - Concept album
 * Songs of Love, (c) 1999 - Love songs.
 * Genesis to Joshua, (c) 2001 - - Concept album. An instrumental cinematic Film Score Sountrack for all of the Holy Books Genesis to Joshua. Unfortunately the score did not make it to film, but the compositions remained.
 * Young Sherlock Holmes, the Case of the Princess Diamonds, (c) 2003
 * Not For Sale, (c) 2008 - A compilation of 13 songs oriented towards Futuristic Electronically with male Vocals.
 * The Adventures of Planet Earth and Beyond (Part One), (c) 2007 - Concept Audio book.


 * A Podcast featuring various musical artists, will be made available as each broadcast episode is made available in 2013.

Filmography
All film score was donated, and Project, shelved. The Principal young Actor (for which the silent film had been written) portraying the young Ludwig Van Beethovan was William Gary W. III.
 * The Child Prodigy. Filmed, edited, completed, and distributed in 2007. This is an inside look at a brief 'Day in the Life' of a childhood prodigy. Namely, Ludwig Van Beethovan at age 7 composing, musing, and silly with his musical instruments, 'joking about' with writing implements.

Instruments, Equipment, and Recording Techniques
Notable instruments which were used by Le Musique de Viola Matronalis according to one resource: .."what made this group so uniquely fantastic was its wide range of stringed instruments on the recordings. That being stated, would come to include: Gu Zheng, Egyptian Oud, Shawm, Hammer dulcimer, Appalachian dulcimer, Ukulele, Turkish Baglama Saz, Mandolin, Turkish Cura Saz, 6 string banjo tuned as a 5 string banjo with a lower B, Violin, Viola, Piano, Guitar (acoustic & electric), Bass, Yamaha Motif Workstation, Roland keyboard, and the list goes on. How many career artist's/musicians can you name, who have the uncanny knack for fulfilling the role of each member of a band, without actually needing a band to record each track? I would like to know. As I am sure many others would as well. "

Recording techniques implemented on early records were very much narrowed down to a Sony 4 track, JVC CD burner, Roland Keyboard, a diversity of acoustic instruments, and modified 'effects pedals' to fit the needs of each track. The complexities of the techniques used on he early albums implies a deep knowledge of circuitry, and a broad-minded approach for arrangements and musical instrumentation.

To illustrate the technique involved: As most tracks (from 'Moon Over Paradise,' and 'Le Cirque de Sonneteer's') were being recorded on the Sony 4 track Recorder, they were then subsequently bounced onto an adjoining CD Burner, and then (in real-time) mastered onto a computer program whilst at the very same time recording 'Live' creating 2 separate versions of the same song in 1 single take.

While 'Le Oubliette' was recorded in an independent recording studio, subsequent albums would be Produced in a private Studio in order to avert all or most complications with money, and time.

Albums following 'Requeil de Musique Favorite,'The Story of Ol’ Skip Jones,'Moon Over Paradise,' and 'Le Oubliette,' were recorded digitally, and then as Pro Tools entered the picture His techniques started to become much more complex. Especially, where acoustic instruments were involved.

Guitars used were a 'Jackson Charvel,' several Classical guitars, Persian wind instrument the "Shawm," a Steel String Gibson Epiphone, and a Yamaha Motif Workstation which later replaced the Roland XP series Synthesizers. All other instruments are listed in the aforementioned comments.

The Future
Although no current information would indicate a continuation of release of musical recordings under the name Le Musique de Viola Matronalis a streamlined series of audio broadcasts is scheduled to be released featuring musically articulate 'friends and acquaintances,' artists, composers, and independent musicians.