Music

Jeongga Etude I composed for Nari Kim (Korean singer). ⭐️ LINKS⭐️ ▸ Join My Email List: http://feonaleejones.com/contact-emai... ▸ Official Website: http://feonaleejones.com/ ▸ Rumble: https://rumble.com/c/c-499695 ▸ LBRY: https://lbry.tv/@FeonaLeeJones:6 ▸ Bandcamp: https://feonaleejones.bandcamp.com/ ▸ Soundcloud: https://soundcloud.com/feona ▸ Gab: https://gab.com/feonaleejones ▸ Bitchute: https://www.bitchute.com/feonaleejones/ ❤ Buy Scores: https://feonaleejones.square.site/ ❤ Download Music: https://feonaleejones.bandcamp.com/ ❤ Donate Directly: http://feonaleejones.com/donate/

Ann Moss and Siroko Duo perform Feona Lee Jones' piece, "Galvanization of the Goddess" for soprano and two flutes on April 2019, at the final Composers Inc. Concert in Berkeley piano Club. Inspiration for this piece include: Barbara Marciniak, Lisa Gerrard, Jaap Blonk, and Bjork. ⭐️ LINKS⭐️ ▸ Join My Email List: http://feonaleejones.com/contact-emai... ▸ Official Website: http://feonaleejones.com/ ▸ Rumble: https://rumble.com/c/c-499695 ▸ LBRY: https://lbry.tv/@FeonaLeeJones:6 ▸ Bandcamp: https://feonaleejones.bandcamp.com/ ▸ Soundcloud: https://soundcloud.com/feona ▸ Gab: https://gab.com/feonaleejones ▸ Bitchute: https://www.bitchute.com/feonaleejones/ ❤ Buy Scores: https://feonaleejones.square.site/ ❤ Download Music: https://feonaleejones.bandcamp.com/ ❤ Donate Directly: http://feonaleejones.com/donate/

"Adrenaline" is a string quartet piece titled for the dissonant driving chromatic motives that clash and glissando towards a mass of aggressive, rhythmic, and cluster-heavy patterns that unfold into an adrenaline-driven force that continues until the end. The piece is episodic in nature and loosely based on an emotional arc of a horror film. I wanted to create an experience of suspense and terror using harsh, abrasive dissonances to create a climate of anxiety by immersing the listener in an adrenaline-filled experience. For each passage, there is a particular “scene” that I have imagined in my mind for what is going on while the music is playing. When I first began composing the piece, I limited myself to using the four notes: D, D#, E, and F, which forced me to develop the piece rhythmically and texturally instead of harmonically and melodically. I quickly branch out of this four-note limit within the first thirty seconds. The motive is a six-note phrase, which appears in various incarnations throughout the piece, but climactically in the end. There is a lot of hocketing of rhythmic motives and textural gestures throughout the piece. At the final section of the piece, the two violins bring back the beginning motive while playing rhythmic gestures back and forth creating a web of intricate rhythms while the viola and cello play a counterpoint that drives the pieces to a moment where all voices are holding a minor sonority at fortississimo. Here's my Etude No. 4 for four notes (D#, E, F, and F3) that inspired this string quartet: https://www.youtube.com/watch?v=pwP20... Performed by: Violin I: Kate Stenberg Violin II: Hrafnhildur Atladottir (Hrabba) Viola: Elen Rose Cello: Vanessa Ruotolo

I composed music (String Quartet No. 2) to Maya Deren's silent experimental film, "Meshes of the Afternoon" to create my own twist on the narrative. Movement 1: 0:35 Movement 2: 4:08 Movement 3: 9:05 Movement 4: 12:18 Other Maya Deren films I've scored: Meshes of the Afternoon (1943): https://www.youtube.com/watch?v=JoETYvwI7I0 At Land (1944): https://www.youtube.com/watch?v=EvafmE3Lel0 A Study In Choreography For Camera (1945): https://www.youtube.com/watch?v=h3W9yFHaVGI Ritual in Transfigured Time (1946): https://www.youtube.com/watch?v=P86jPAHOvG4&ab_channel=FeonaLeeJones Performed by: Del Sol String Quartet Banjamin Kreith (Violin 1) Sam Weiser (Violin 2) Charlton Lee (Viola) Katheryn Bates (Cello) Meshes of the Afternoon (1943) is a short experimental film directed by wife-and-husband team Maya Deren and Alexander Hammid who also starred in the film. The film's narrative is circular and repeats several motifs, including a flower on a long driveway, a key falling, a door unlocked, a knife in a loaf of bread, a mysterious Grim Reaper–like cloaked figure with a mirror for a face, a phone off the hook and an ocean. Through creative editing, distinct camera angles, and slow motion, the surrealist film depicts a world in which it is more and more difficult to catch reality.

I added my original music to Maya Deren's film, "Ritual in Transfigured Time" (1946) to create my own twist on the narrative. Conductor: Galen Lemmon Performers: Joshua Kwan Chris Pun Matilda Loughmiller Shota Otaguro Niles Flynn Sabrina Chen Arianna Arias Thomas Benton Anne Hsu Recorded and filmed by: Jason Sander

I added my original music to Maya Deren's film, "At Land" (1944) to create my own twist on the narrative. Performed by: Tammie Dyer (Violin 1) Ilana Blumberg (Violin 2) Alexander Volonts (Viola) Rebecca Roudman (Cello) Recorded by: Jason Eckl and Invoke Quartet (4th movement)

The Story of Wu Wei – Chamber Opera with fixed-media electronic interludes 1. The Womb (electronic intro) 00:39 2. Prologue (live performance, conducted by Steed Cowart) 4:04 3. Red Skeletons (electronic interlude) 7:49 4. The Sound of Death (live performance, conducted by Willie Winant)11:09 5. The Aftermath (electronic interlude) 18:44 6. Mother’s Death (live performance, conducted by Steed Cowart) 21:47 7. Angelic Conversations (electronic coda) 26:10 The Story of Wu Wei is a condensed, single-act English-language chamber opera reflecting my mother’s struggle to survive under the Mao Zedong Regime in the 1950s. During this period of civil strife in China, millions died due to violent class warfare. The opera weaves a tapestry of personal and political events, following the life of Wu Wei and her mother, Mei. Wu Wei’s father was a scholar, a Buddhist, and a landowner, which meant they were targets of the Mao Regime. Together they transcend the hardship of losing Wu Wei’s father, their home, and all their belongings. Through this tumultuous period of heartbreaking loss, Wu Wei perseveres and carries forward hope that she will then impart on future generations. The desire to compose works pertinent to my ancestral background fuels me to discover more about myself through the history of my parents and ancestors. Through their unique stories, I can view the human journey across centuries and continents and bridge cultural and generational gaps to create a brighter future for the next generation. 1. The Womb (electronic intro) – This introduction symbolizes the safety and peace of being in the womb. This peace is soon transformed as Wu Wei realizes her family is no longer safe and will soon lose everything to the Peoples Liberation Army under the Mao Regime. 2. Prologue (live performance, conducted by Steed Cowart) – Wu Wei and her family sing text from a Buddhist chant embracing their familial union. The introduction chanting of the Peoples Liberation Army chorus drastically changes the trajectory of the piece as the soldiers chant passages from The Little Red Book, and some of my own text. 3. Red Skeletons (electronic interlude) – This interlude depicts the uncertainty that Wu Wei and her family face being targeted by the Peoples Liberation Army. The harsh reality that they could lose everything has become almost certain. 4. The Sound of Death (live performance, conducted by Willie Winant) – This is the climactic moment when Huang, the father, is murdered by the soldier who no longer will tolerate his lifestyle under the orders of Mao. 5. The Aftermath (electronic interlude) – This interlude represents the fatal aftermath of the incident when Wu Wei’s father was killed by the soldier. 6. Mother’s Death (live performance, conducted by Steed Cowart) – This movement depicts the death of the mother from being heart-broken after the loss of her husband. 7. Angelic Conversations (electronic coda) – This coda depicts the end of the story where Wu Wei is left on her own and struggles to accept her fate. This piece is about letting go. Performers _________________________________________________ Conductors Willie Winant (Sound of Death aria) Steed Cowart (Prologue and Mother’s Death arias) Main Singers Corinne Rydman (Wu Wei, Daughter) Anne Hege (Mei, Mother) Elaine Hsieh (Yao Lan, Servant) Spencer Dodd (Soldier) Michael Orlinsky (Huang, Father) Piano Nayoung Jung Chorus Rodolfo Córdova (soloist) Jess Tambellini Greg Kappes Angelica Sanabria Nedra Pinto String Quartet Alyssa Quiogue (Violin 1) Charles McGraw (Violin 2) Tavya McCoy (Viola) Crystal Pascucci (Cello) Percussion Ensemble Tony Giuseppe Gennaro (Chinese Tom-toms High) Imogen Teasley-Vlautin (Chinese Tom-toms Mid) Brendan Glasson (Chinese Tom-toms Low) Michael Jones (Marimba) Breonna Taylor (Chinese Hand Gong) Lucca Troutman (Tam-tam) Valentine O’Leary (Flexitone) Joel Nelson (Suspended Cymbal) Tim Decillis (Triangle) Lula Marni Asplund (Shakers) Sarah McNamara (Shakers)

Dragsúgur (the wind that comes in through the window) is a piece I wrote for solo guitar that was performed by Roberto Granados​ at Center for New Music (55 Taylor St, San Francisco, California 94102) August 11, 2019. The solo guitar piece was highly inspired by Frank Zappa and Tom Waits so if you like their music there is a chance you might like this piece. Program Notes: Dragsúgur was written for acoustic or electric solo guitar. It features angular rhythms and dissonant chords with a Frank Zappa meets Tom Waits flavor. It features a waltz feel in the beginning, which transitions to a driving rhythmic pulse utilizing invertible counterpoint and harmonics. The ending is a return to the angular waltz but with brief interjections of earlier gestures. Roberto Granados Biography: https://www.robertogranadosguitar.com/biography

"Time is Running Out" is a piece I wrote for String Quartet, which was performed live at Golden Hornet by Invoke String Quartet Feb 10, 2018.

Del Sol String Quartet performs Feona Lee Jones' String Quartet No. 2 "Adrenaline" April 13, 2019, Santa Cruz. "Adrenaline" is a 4-movement string quartet piece titled for the dissonant driving chromatic motives that clash and glissando towards a mass of aggressive, rhythmic, and cluster-heavy patterns that unfold into an adrenaline-driven force that continues until the end. Movement 1: 00:06 Movement 2: 03:51 Movement 3: 09:07 Movement 4: 12:32 Performed by: Del Sol String Quartet Banjamin Kreith (Violin 1) Sam Weiser (Violin 2) Charlton Lee (Viola) Katheryn Bates (Cello)

I composed music to Maya Deren's silent experimental film, "A Study In Choreography For Camera" to create my own twist on the narrative. A Study in Choreography for Camera is a 1945 experimental silent short directed by Maya Deren. It was Deren's third project, that she fully realized her vision of freeing the human body from the confines of theatrical—and actual—space. The film stars Talley Beatty.

Dan Bau Etude is a solo piece I composed for the Vietnamese Instrument, Dan Bau, featuring Van-Anh Vanessa Vo.