Frank Perry - Tibetan Singing Bowls - Himalayan Studies 2

Product Code: CD1516
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This is the second in a Series of 5 CDs entitled HIMALAYAN STUDIES. 


They were not intended to be a Series but as time passed by more and more pieces unfolded within the context of this project until a Series evolved. I had just over enough for 4 CDs - which nicely celebrated my 4 decades of music-making - so I turned my attention to the possibility of a fifth CD.


The idea then occurred to myself that I could include some early pieces that were unavailable and then the thought further developed into including pieces from each decade.

#1    Maitreya. Tibet  (NKR)   (1-8-2004)   (7:35)  

Stroked Heart Chakra bowls (including the Maitreya Bowl) with the mystical-sounding Noah Bells (from India) floating over and above their heart-warming drone-like sound. The Noah Bells were recorded in 1990 (the entire piece constitutes the track Chintamani from the CD: CRYSTAL PEACE) and the end section was used by Martin Brunsden (Yidaki player for his track Elysium from the CD: OUT OF THE WOOD) and I have taken this same section to place alongside the beautiful OM of the Singing bowls.

#2    Tibet – OM in the Mountains.  (NKR)   (1-11-2004)   (4:21)  

The PAISTE Sun Gong plus an antique Tibetan Singing bowl, especially chosen to represent this OM sound, is offset against softer, higher pitched Yin bowls, that represent the mountain landscape within which this OM is sounded.

#3    Beda the Preacher.   (NKR)   (6-10-2004)   (14:31)

This piece reflects the story behind the painting of the same name. It opens with a ritualistic performance upon four singing bowls. The next section is upon two PAISTE Symphonic Gongs (Sound Creation #3B & 34" Symphonic Gong) accompanied by a choir of bowed Singing Bowls to represent the Preacher's sermon. There is a Yang bowl to signal the end of the sermon and then a silence followed by a long and complex aleatoric section upon numerous instruments representative of the four elements indicative of the whole of Nature responding to his sermon that begins with a rolling Singing Bowl followed by another similar both rich in high harmonics.

#4    Pentecostal Visitation.   (5-10-2004)   (10:06)

This piece opens with two bowls. Both are Flying Bowls - one large the other small. The characteristics of these bowls (named by myself) resides in their moving from one basic pitch to another in the ascending series of their harmonics. Both of these bowls move through four pitches. The second, smaller bowl, enters after several minutes. This is followed by a section upon a Solar Plexus Rain Bowl (technique invented by myself) and 3 Swung Pyrahermeezees. A section for PAISTE Symphonic Gongs and Cymbals (including large authentic Chinese Cymbals) follows and concludes the piece ending with the long sustain of the Petalumines (all played in a single performance in a recording from 1986 at the White Temple of the White Eagle Lodge).

#5    Chomolungma.   (22-8-2004)   (7:02)

This piece features two hand-made Conch Shell trumpets accompanied with a choir of Tibetan Bells (Drilbu), the manner of playing these being based upon the Pythagorean concept of the Music of the Spheres, bowed Tibetan Ting-shag in a five-fold sequence, and with a sequence of deep Gongs (PAISTE Sun Gong, Venus Gong, and Platonic Great Year Gong) beneath. 

#6    Full Moon Reflected Upon the River.   (1-8-2003)   (9:46)

An improvisation upon a selection of some 42 Yin bowls floats above the gentle spirit murmur (aleatoric section) using choirs of Spirit Bowls & Air spirit bowls with some Water spirit bowls and the tinkling of strings of Indian bells (crotals) plus a slow sequence of deep Tibetan Singing bowls underpinning the piece.

#7    Call of the Spirit Bells.   (25-8-2004)   (6:18)

This opens with a ritual section played in 7 beats upon two Singing bowls.  This is followed by a section somewhat imitative of the canon used in Japanese Gagaku. This is all played upon one Water spirit bowl. The closing section is upon a choir of Drilbu (Tibetan hand bells - stroked) and some stroked Singing Bowls plus a 7 beat sequence upon bowed Ting-shag.

#8    Invocation to the Eternal Sound God.   (14-7-2004)   (5:25)

The stopping technique used in Javanese Gamelan is exploited here with a rhythmical sequence of three bowls following a gong strike. The rhythmical sequence of three bowls rises in pitch with each repetition and then starts over again. In the background is an overtone choir. Then undertone singing (in the style of Tibetan Tantric chanting) alongside overtone singing (In the style of Mongolian Khoomei), both performed by myself, ends the piece. The vocal contribution to this piece was formerly released as Song of the Hathors on the CD: RAINBOW HEALING PEACE.

 #9    Shambhala Protects.   (5-7-2004)   (2:38)

The Russian artist Nicholas Roerich, whilst travelling with his expedition through the Himalayan regions, experienced the sighting of a UFO. A bright light traversed the sky at great speed. The lama alongside of him commented upon this experience by stating that it signified the expedition was under the protection of Shambhala. Rolled Singing bowls, bowed Singing Bowls, bowed Tibetan bells and Ting-shag, with a set of Tibetan & Himalayan bowls beneath, provide the instrumental colouring.

#10    Chenrezig – Clouds of Sound and Light Beings over Tibet.   (14-7-2004)   (11:07) 

This piece explores the unique realm of Pyrahermeezees, Trianguhermeezees and Ufoms - all invented by myself in the late 70s. Here they are all swung.


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