Played and recorded in real-time on a Technics organ by Khai as a tribute to Khim at https://soundeagle.wordpress.com/2019/08/31/khai-khim-for-always-and-beyond-goodbye/#Madame_Tango

In dreams I kiss your hand, madame
Your dainty fingertips
And while in slumberland, madame
I'm begging for your lips
I haven't any right, madame
To do the things I do
Just when I hold you tight, madame
You vanish with the night, madame
In dreams I kiss your hand, madame
And pray my dreams come true

Khai & Khim

I Kiss Your Hand, Madame

SoundEagle in Art, Music and Compositions about New Sensations, Love, Life, Country, Nature, Dreaming, Meditation and Spirituality

https://soundeagle.wordpress.com/2013/03/10/soundeagle-in-soundcloud-art-music-and-compositions-about-new-sensations-love-life-country-nature-dreaming-meditation-and-spirituality/

Take A Stroll (demo1)

SoundEagle in Art, Music and Compositions about New Sensations, Love, Life, Country, Nature, Dreaming, Meditation and Spirituality

Please note that "Country River" is a musical quiz.  No one has been able to fully answer the quiz yet.  Perhaps you can!  Here are the clues: the piece contains two folk tunes and one national anthem.  See if you can identify them.

https://soundeagle.wordpress.com/2013/03/10/soundeagle-in-soundcloud-art-music-and-compositions-about-new-sensations-love-life-country-nature-dreaming-meditation-and-spirituality/

New Sensations

Journey Of Life (demo1)

SoundEagle in Art, Music and Compositions about New Sensations, Love, Life, Country, Nature, Dreaming, Meditation and Spirituality

“Country River” also functions as a musical quiz.  No one has been able to fully answer the quiz yet.  Perhaps you can!  Here are the clues: the piece contains two folk tunes and one national anthem.  Let’s see if you can identify them.

https://soundeagle.wordpress.com/2013/03/10/soundeagle-in-soundcloud-art-music-and-compositions-about-new-sensations-love-life-country-nature-dreaming-meditation-and-spirituality/

Country River (demo1)

SoundEagle in Art, Music and Compositions about New Sensations, Love, Life, Country, Nature, Dreaming, Meditation and Spirituality

https://soundeagle.wordpress.com/2021/11/08/soundeagle-guided-imagery/

https://soundeagle.wordpress.com/2013/03/10/soundeagle-in-soundcloud-art-music-and-compositions-about-new-sensations-love-life-country-nature-dreaming-meditation-and-spirituality/

“Where The Eagles Fly” can also be savoured at
http://www.youtube.com/watch?v=ojaOLp3e9Ek
http://www.youtube.com/watch?v=vdtV_hSMgR0
https://www.youtube.com/watch?v=g26o0QupXvE

Where The Eagles Fly (demo1)

Where The Eagles Fly (demo2)

I'll Always Be With You (finale) (demo2)

Trance (demo1)

The Sunset Lingers On (demo2)

For more detail, please visit https://soundeagle.wordpress.com/2019/08/31/khai-khim-for-always-and-beyond-goodbye/#Hard_Rock_Tammy

This Hard Rock arrangement is one of SoundEagle’s 35 variations on “Tammy”.  The tune was nominated for the 1957 Oscar for Best Original Song from the 1957 romantic comedy film Tammy and the Bachelor, starring Debbie Reynolds.  Each of those 35 arrangements constitutes a separate musical genre.  The process can be likened to the formal technique of theme and variations used by many classical and later composers, except that each variation is in an entirely different musical genre.  Furthermore, SoundEagle had purposely used only the first four lines of the tune as the source material for those variations, included herewith as follows:

I hear the cottonwoods whisperin’ above,
“Tammy ... Tammy ... Tammy’s in love”
The ole hooty-owl hooty-hoos to the dove,
“Tammy ... Tammy ... Tammy's in love”

Tammy

SoundEagle’s Variation on “Tammy” in Hard Rock

For more detail, please visit https://soundeagle.wordpress.com/2019/08/31/khai-khim-for-always-and-beyond-goodbye/#Caribbean_Tammy

This Caribbean arrangement is one of SoundEagle’s 35 variations on “Tammy”. The tune was nominated for the 1957 Oscar for Best Original Song from the 1957 romantic comedy film Tammy and the Bachelor, starring Debbie Reynolds. Each of those 35 arrangements constitutes a separate musical genre. The process can be likened to the formal technique of theme and variations used by many classical and later composers, except that each variation is in an entirely different musical genre. Furthermore, SoundEagle had purposely used only the first four lines of the tune as the source material for those variations, included herewith as follows:

I hear the cottonwoods whisperin’ above,
“Tammy ... Tammy ... Tammy’s in love”
The ole hooty-owl hooty-hoos to the dove,
“Tammy ... Tammy ... Tammy's in love”

SoundEagle’s Variation on “Tammy” in Caribbean

Played and recorded in real-time on a Technics organ by Khai as a tribute to Khim at https://soundeagle.wordpress.com/2019/08/31/khai-khim-for-always-and-beyond-goodbye/#Swan_Princess

SoundEagle Exploring Classicism

Swan Lake

Orchestrated, played and recorded in real-time on a Technics organ by Khai as a tribute to Khim at https://soundeagle.wordpress.com/2019/08/31/khai-khim-for-always-and-beyond-goodbye/#Sinfonia_Arioso

SoundEagle Orchestrating Sinfonia (Arioso) from Bach’s Cantata BWV 156

Trace of Infinity — Piano Sonata No. 1 by SoundEagle

Trace of Infinity [Piano Sonata No. 1]

The first movement of SoundEagle's Second Piano Sonata has a palindromic structure whose tension and development are akin to those of a hurricane, increasing in intensity to the maximum, followed by a deceptive quietude of the eye of the storm, and then unfolding its fury in reverse.  The movement is also characterized by the use of quintal harmony and a droning pedal tone.

The Time Beyond — Piano Sonata No. 2 by SoundEagle

Quint-Palin-Drone [Piano Sonata No. 2 “The Time Beyond”, 1st Movement]

To see the full score and learn more about this composition, visit https://soundeagle.wordpress.com/2020/04/12/the-last-rag/

The videos are available at https://www.youtube.com/watch?v=T-acn3OZrKU and https://www.youtube.com/watch?v=DLkiJCzuM4k

🎼🎹—THE—🎹—LAST—🎹—RAG—🎹🎵🎶
The Last Virtue is empty like a hall
The Last Romance shunts lovers
The Last Work is never done at all
The Last Square has no corners
The Last Smile is a lifetime before
The Last Shout comes from whispers
The Last Memory is beyond recall
The Last Rag echoes the golden eras

Composed by SoundEagle🦅, The Last Rag comes in two versions as shown above: the 1996 Original Edition and the 2010 Special Edition.

The Last Rag can be performed or listened to as a self-contained work, though it is also the middle movement of the three-movement Second Piano Sonata entitled “The Time Beyond”.

The Last Rag was first performed by Professor Stephen Emmerson in a music recital at the Queensland Conservatorium Griffith University (formerly the Queensland Conservatorium of Music) in 1996, and was performed by David Pitman who played the Second Piano Sonata “The Time Beyond” on 9 October 1997 at the New Music Collective Concert held in the Recital Hall of Queensland Conservatorium Griffith University featuring SoundEagle🦅’s various compositions.

The Second Piano Sonata “The Time Beyond” (to which The Last Rag belongs) was also one of the major pieces featured at David Pitman’s final piano examination required for his Master’s Degree in Performance. The Last Rag was played by Professor Stephen Emmerson and recorded in the Orchestral Hall at Queensland Conservatorium by Daniel Fournier who, along with Peter Laughton, mastered all the edited tracks onto the CD entitled “The Rag Project” and released in 1998. More than a decade later, it had been fondly studied and played by Connie Stamatopoulou in 2009 and 2010.

The Last Rag had also been featured at least once on radio (in the vicinity of 2000 as the precise date is beyond recall) in one of the programmes hosted by Julian Day, an artist, composer and broadcaster who used to present the long-running experimental music programme called “New Music Up Late” as well as “Classic Breakfast and Afternoons” on ABC Classic FM.

The 2010 Special Edition of The Last Rag continues the salient features of the 1996 Original Edition further, including melodic angularity and atonality, contrapuntal textures, motivic extensions, thematic superpositions, harmonic piquancy, chromaticism, suspended tones, nuanced sonorities and dynamic expressiveness. Due to full-time filial commitments, both the score and the recording of the 2010 Special Edition are only just published by SoundEagle🦅 here in 2020.

Regardless of the degree to which the resulting composition may be regarded as an appropriation, reimagination or reinterpretation of classic Ragtime, The Last Rag has patently honoured the well-established tradition and true spirit of Ragtime in the process of sticking fairly closely to, whilst also deviating inventively from, the musical form of Ragtime.  As the accompanying poem indicates, apart from conveying certain personal and philosophical messages, The Last Rag also serves as a meta-commentary or meta-narrative to ragtime as a century-old genre, evoking nostalgia and contemplation, as well as simultaneously reflecting, acknowledging and transcending the eras and heritages of ragtime and related genres. Overall, SoundEagle🦅 has sought greater freedom, unity, sophistication and expressiveness in The Last Rag to reach beyond the stereotype and confined scope of this unique genre whilst exploring innovative techniques to decisively push the envelope of the Ragtime vernacular and its vocabularies.

Piano Sonata No. 2 by SoundEagle

The Last Rag [Piano Sonata No. 2 “The Time Beyond”, 2nd Movement]

Toccata [Piano Sonata No. 2 “The Time Beyond”, 3rd Movement]

Romancing Infinity — Piano Sonata No. 3 by SoundEagle

Lost in Love [Piano Sonata No. 3 “Romancing Infinity”, 1st Movement]

Stream of Infinity [Piano Sonata No. 3 “Romancing Infinity”, 2nd Movement]

This third movement originates from a composition of the same title, namely, "Propensity", scored for flute and piano, which won the first prize in the Open Category of the 1996 Composition Competition organized by the Australian Society for Music Education (ASME).  The judge was Sarah Hopkins.  The prizes were awarded to the winners at Brisbane Grammar School.

Propensity [Piano Sonata No. 3 “Romancing Infinity”, 3rd Movement]

Lost in Love (finale) [Piano Sonata No. 3 “Romancing Infinity”, 4th Movement]

Glockenspiel, Xylophone, Marimba, Vibraphone, Piano and Tubular Bells

The Tubular Affair [Music for Six Percussion Instruments]

"The Great Circus" demonstrates a copious amount of quoting and mixing some of the most stylistically identifiable features of musical genres from various regions and cultures in the world through the fine art of orchestral arrangement and instrumentation. Lasting nearly three minutes, this musical quotation is tantamount to a somewhat humorous pastiche comprising a medley of pieces imitating the multicultural parade of a great circus.

The Great Circus

Saxophone Quartet No. 1 has been performed by Barry Bobart and his students.

Saxophone Quartet No. 1

“Logic in Transit” is scored for Saxophone or Bass Clarinet and Piano, and has been performed first by Floyd Williams and Stephen Emmerson, and later by Floyd Williams and Mitchell Leigh.

This composition is also featured on the CD entitled "Old Wine, New Bottles" by Floyd Williams & JANUS, which "illustrates the cross fertilisation of folk/popular and jazz genres that occur in classical music."

Logic in Transit (Sax or B.Cl & Piano, 1996)

https://soundeagle.wordpress.com/2020/10/10/if-my-name-were-moon-tonight-with-clair-de-lune/

Orchestrated, played and recorded in real-time on a Technics organ by SoundEagle

See the dynamic animation of the music at https://soundeagle.wordpress.com/2020/10/10/if-my-name-were-moon-tonight-with-clair-de-lune/

Clair de Lune

SoundEagle Orchestrating Clair de Lune

Beyond the Black Stump

Coming of Age

Forever

To see the full score and learn more about this composition, visit https://soundeagle.wordpress.com/2020/04/12/the-last-rag/

The video is available at https://www.youtube.com/watch?v=SGnHHH4iwZw

🎼🎹—THE—🎹—LAST—🎹—RAG—🎹🎵🎶
The Last Virtue is empty like a hall
The Last Romance shunts lovers
The Last Work is never done at all
The Last Square has no corners
The Last Smile is a lifetime before
The Last Shout comes from whispers
The Last Memory is beyond recall
The Last Rag echoes the golden eras

Composed by SoundEagle🦅, The Last Rag comes in two versions as shown above: the 1996 Original Edition and the 2010 Special Edition.

The Last Rag can be performed or listened to as a self-contained work, though it is also the middle movement of the three-movement Second Piano Sonata entitled “The Time Beyond”.

The Last Rag was first performed by Professor Stephen Emmerson in a music recital at the Queensland Conservatorium Griffith University (formerly the Queensland Conservatorium of Music) in 1996, and was performed by David Pitman who played the Second Piano Sonata “The Time Beyond” on 9 October 1997 at the New Music Collective Concert held in the Recital Hall of Queensland Conservatorium Griffith University featuring SoundEagle🦅’s various compositions.

The Second Piano Sonata “The Time Beyond” (to which The Last Rag belongs) was also one of the major pieces featured at David Pitman’s final piano examination required for his Master’s Degree in Performance. The Last Rag was played by Professor Stephen Emmerson and recorded in the Orchestral Hall at Queensland Conservatorium by Daniel Fournier who, along with Peter Laughton, mastered all the edited tracks onto the CD entitled “The Rag Project” and released in 1998. More than a decade later, it had been fondly studied and played by Connie Stamatopoulou in 2009 and 2010.

The Last Rag had also been featured at least once on radio (in the vicinity of 2000 as the precise date is beyond recall) in one of the programmes hosted by Julian Day, an artist, composer and broadcaster who used to present the long-running experimental music programme called “New Music Up Late” as well as “Classic Breakfast and Afternoons” on ABC Classic FM.

The 2010 Special Edition of The Last Rag continues the salient features of the 1996 Original Edition further, including melodic angularity and atonality, contrapuntal textures, motivic extensions, thematic superpositions, harmonic piquancy, chromaticism, suspended tones, nuanced sonorities and dynamic expressiveness. Due to full-time filial commitments, both the score and the recording of the 2010 Special Edition are only just published by SoundEagle🦅 here in 2020.

Regardless of the degree to which the resulting composition may be regarded as an appropriation, reimagination or reinterpretation of classic Ragtime, The Last Rag has patently honoured the well-established tradition and true spirit of Ragtime in the process of sticking fairly closely to, whilst also deviating inventively from, the musical form of Ragtime.  As the accompanying poem indicates, apart from conveying certain personal and philosophical messages, The Last Rag also serves as a meta-commentary or meta-narrative to ragtime as a century-old genre, evoking nostalgia and contemplation, as well as simultaneously reflecting, acknowledging and transcending the eras and heritages of ragtime and related genres. Overall, SoundEagle🦅 has sought greater freedom, unity, sophistication and expressiveness in The Last Rag to reach beyond the stereotype and confined scope of this unique genre whilst exploring innovative techniques to decisively push the envelope of the Ragtime vernacular and its vocabularies.

The Last Rag [Piano Sonata No. 2 “The Time Beyond”, 2nd Movement] (2010 Special Edition)

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To learn about SoundEagle’s musical lineage, visit https://soundeagle.wordpress.com/2022/10/03/pondering-musical-lineage-on-the-queens-birthday/

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