Between autumn and winter

津軽三味線 darksynth/apocalyptic neofolk/operatic belcanto crossover, Instrumentation consists entirely of plucked string instruments with sawari buzz and lunzhi (轮指) technique - lead: harp, bass: aeolian harp doubling lead reinforcing modal center constantly; accents: harp, Duet between two male belcanto vocals, Full throttle loop-based rhythmic piece based on hypnotic repetition of a single leitmotif with unchanging dynamics throughout whole composition, Rhythmic pattern: heartwrenching loure pattern pulse in 60-70 bpm, Percussion: Alesis SR-16 drum programming: tight punchy gated digital drums, short decay kick, sub-bass boost, Sidechain compression, Strictly modal composition

[Instrumental]

[Intro]
[solo oud with heavy pitch-bending and vibrato]
[sub-bass swells]

[Main Section]
[four-on-the-floor kick drum enters]
[electronic claps on beats 2 and 4]
[16th-note hi-hat pattern]
[distorted synth lead doubles oud melody]

[Breakdown]
[drums and synth drop out]
[solo oud with rapid tremolo picking and microtonal ornaments]

[Build-up]
[snare roll increases in frequency]
[rising synth riser effect]

[Drop]
[full percussion returns]
[sidechained sub-bass]
[oud and synth lead unison melody]

[Use enharmonic synemmenon locrian mode with asimetrik sıçramalı seyir for all harmonic elements. Bassline follows strictly by doubling lead instruments in perfect fourths.]

[Male Voice A - Tannhäuser, Minnesanger: Soft, sweet plaintive lyrical tenor focusing on upper register with chest-supported yodel singing in operatic pure tone (inspired by Franco Masi). Balanced head and chest voice integration with yodel. Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance with sweet, unforced messa di voce. Unsteady tessitura. Piercing squillo and seamless smooth legato, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.]

[Male Voice B - Wolfram von Eschenbach, Minnesanger: velvety, warm, gruff operatic baritone. Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance. Even tessitura across registers. Complete absence of whistle register, absence of flageolet register, absence of falsetto. Piercing high-frequency metallic squillo and seamless smooth legato, immaculate diction, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.]

[Lyrics in german and english]

[Full ensemble *including drums* joins immediately on beat 1]

[Vorspiel starts with full intensity - 2 bars, full crescendo]

[Vorspiel - 2 bars]

[Verse 1]
[Tannhäuser]
Yes, it is me, Heinrich,
The one also known as Tannhäuser.
Do not be afraid,
My former friend.
I will be having only one question
And will be on my way,
And shalt thou not see my face...
...Anymae.

[Chorus]
[Tannhäuser]
Tell me, Wolfram, my former friend,
Most accomplished among the minnesangers,
Where is the entrance to Venusberg?

[Vorspiel - 2 bars]

[Verse 2]
[Wolfram]
Do not mention that accursed name,
But know my heart is filled
With compassion for thy state.
Know I am still thy friend, Heinrich.
Wert thou still pious,
Nothing would change 'twixt us.

[Chorus]
[Wolfram]
Tell me, Heinrich, my forlorn friend,
Most accomplished among the minnesangers,
What came of thy pilgrimage?

[Vorspiel - 2 bars]

[Verse 3]
[Wolfram]
[Tannhäuser]
All of my pilgrimage was for naught,
For I cannot be pardoned.
I am lost, I am forlorn.
There is no other way for me.
Seest thou, this gnarled staff?
I was given it and told:
When this stuff turn'th verdant,
Verdant and florid evenso,
Then shall thy pardon come.

[Chorus]
[Tannhäuser]
Tell me, Wolfram, my once dear friend,
Most sonorous among the minnesangers,
How can I thus hope to be pardoned?
Better to be to oblivion consigned
Within the mephitis of Venusberg.

[Instrumental bridge - Ghammaz section with taqsim - 2 bars]

[Ghammaz Section - non-lexical vocalizations - yodel]

* Ииииииооооо-ииииииииоооо-ио-ио-иоооооо...
* Ииииииооооо-ииииииииоооо-ио-ио-иоооооо...

[Vorspiel - 2 bars]

[Verse 4]
[Wolfram]
Must thou, Heinrich, my foolish friend,
Ne'er give up hope for the Lord
Will not give up upon His creation.
Look at thee, thou art still alive,
Shut up, Heinrich,
Do not mention this accursed name!
No, I sense mephitis
Blending with sickly roses.
Heinrich, what hast thou done?

[start fade out, slow down]

[Outro]
[Demonic choir]
Naht euch dem Strande,
naht euch dem Lande!
* Naht euch dem Strande,
* naht euch dem Lande!

[Vorspiel - 2 bars, fadeout]

* Nymphomaniac phantasia...
* Ниииим-фоооооо-мааааа-ниииии-јааааааааа...
* Satyriac hemiplegia....
* Сааааааа-тииииии-ррррииии-јааааа-зииииссс...

[end]

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[Instrumental] [Intro] [solo oud with heavy pitch-bending and vibrato] [sub-bass swells] [Main Section] [four-on-the-floor kick drum enters] [electronic claps on beats 2 and 4] [16th-note hi-hat pattern] [distorted synth lead doubles oud melody] [Breakdown] [drums and synth drop out] [solo oud with rapid tremolo picking and microtonal ornaments] [Build-up] [snare roll increases in frequency] [rising synth riser effect] [Drop] [full percussion returns] [sidechained sub-bass] [oud and synth lead unison melody] [Use enharmonic synemmenon locrian mode with asimetrik sıçramalı seyir for all harmonic elements. Bassline follows strictly by doubling lead instruments in perfect fourths.] [Male Voice A - Tannhäuser, Minnesanger: Soft, sweet plaintive lyrical tenor focusing on upper register with chest-supported yodel singing in operatic pure tone (inspired by Franco Masi). Balanced head and chest voice integration with yodel. Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance with sweet, unforced messa di voce. Unsteady tessitura. Piercing squillo and seamless smooth legato, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.] [Male Voice B - Wolfram von Eschenbach, Minnesanger: velvety, warm, gruff operatic baritone. Singer has massive respiratory power, exhibits extreme appoggio and high-energy pharyngeal resonance. Even tessitura across registers. Complete absence of whistle register, absence of flageolet register, absence of falsetto. Piercing high-frequency metallic squillo and seamless smooth legato, immaculate diction, immaculate diction, and surgical glottal closure. Sings fluently in all languages cited.] [Lyrics in german and english] [Full ensemble *including drums* joins immediately on beat 1] [Vorspiel starts with full intensity - 2 bars, full crescendo] [Vorspiel - 2 bars] [Verse 1] [Tannhäuser] Yes, it is me, Heinrich, The one also known as Tannhäuser. Do not be afraid, My former friend. I will be having only one question And will be on my way, And shalt thou not see my face... ...Anymae. [Chorus] [Tannhäuser] Tell me, Wolfram, my former friend, Most accomplished among the minnesangers, Where is the entrance to Venusberg? [Vorspiel - 2 bars] [Verse 2] [Wolfram] Do not mention that accursed name, But know my heart is filled With compassion for thy state. Know I am still thy friend, Heinrich. Wert thou still pious, Nothing would change 'twixt us. [Chorus] [Wolfram] Tell me, Heinrich, my forlorn friend, Most accomplished among the minnesangers, What came of thy pilgrimage? [Vorspiel - 2 bars] [Verse 3] [Wolfram] [Tannhäuser] All of my pilgrimage was for naught, For I cannot be pardoned. I am lost, I am forlorn. There is no other way for me. Seest thou, this gnarled staff? I was given it and told: When this stuff turn'th verdant, Verdant and florid evenso, Then shall thy pardon come. [Chorus] [Tannhäuser] Tell me, Wolfram, my once dear friend, Most sonorous among the minnesangers, How can I thus hope to be pardoned? Better to be to oblivion consigned Within the mephitis of Venusberg. [Instrumental bridge - Ghammaz section with taqsim - 2 bars] [Ghammaz Section - non-lexical vocalizations - yodel] * Ииииииооооо-ииииииииоооо-ио-ио-иоооооо... * Ииииииооооо-ииииииииоооо-ио-ио-иоооооо... [Vorspiel - 2 bars] [Verse 4] [Wolfram] Must thou, Heinrich, my foolish friend, Ne'er give up hope for the Lord Will not give up upon His creation. Look at thee, thou art still alive, Shut up, Heinrich, Do not mention this accursed name! No, I sense mephitis Blending with sickly roses. Heinrich, what hast thou done? [start fade out, slow down] [Outro] [Demonic choir] Naht euch dem Strande, naht euch dem Lande! * Naht euch dem Strande, * naht euch dem Lande! [Vorspiel - 2 bars, fadeout] * Nymphomaniac phantasia... * Ниииим-фоооооо-мааааа-ниииии-јааааааааа... * Satyriac hemiplegia.... * Сааааааа-тииииии-ррррииии-јааааа-зииииссс... [end]

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