Simply Celli
Copyright 2001 Kathlena Elizabeth Deles - All Rights Reserved
Me & My Music
I've been in love with the sound of a cello since I was eight years old.
That is when I discovered my gift for playing music.
In high school I was Midwest Regional Champion cellist for the state of Missouri and all the surrounding states.
I hold the honor of being the only cellist in Midwest Regionals to qualify as Co-Concert Master of an 8 - State Regional Orchestra.
After high school I won a complete scholarship to Southwest Missouri State University.
I promptly blew that scholarship because I hated that universtiy.
When I arrived back in St. Louis, I followed an art career for awhile, while my cello collected dust in my closet.
Roughly 10 years ago, my cello "called" to me from the closet.
I got the poor thing out, pulled the bow across the strings and discovered that I could still play it and that I missed music.
I joined the Belleville Philharmonic Orchestra
and got myself back up to a respectable playing level and then decided it was time to finish my music degree.
I am currently working on my Associate of Arts/Performance degree and am a 4.0 Dean's List student.
While in college for music the second time around, I discovered that I not only enjoy playing music, but that I enjoy composing also.
Most of my current composing efforts are quartet arrangements of music to use in weddings.
However occasionally I get a unique melody stuck in my head and it literally haunts me until I do something about it.
I've been known to go for days without sleep because the music won't let me.
I hope you enjoy listening to my original music.
It tends to be somewhat different.
Not really classical.
Not really modern.
I don't like to compose in major or minor scales too much.
I tend toward the modal scales.
I like them for their "freshness"; even though they are quite old.
Older even than "major" or "minor".
Most modern-day compositions do not tend towards modes
and me being the non-conformist that I am decided that it would be fun to be different.
Go figure.
Currently I am composing a piece called "Hanna and Mary".
It is a bi-modal piece that gives me fits.
I hear other composers work in bi-modal and ask myself; "How do they make it sound so easy?"
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"Japanese Gardens" ©
Kathlena Elizabeth Deles
Copyright April 12, 2002
Not to be used without express written permission from Kathlena Elizabeth Deles
Started it in September 2001. Right after the Japanese Festival.
The daiko drums were still in my head along with the dancers.
Then 9/11 hit.(Wow!! That long ago already? Where did my life go?)
And it took me until April of the following year to get it to where I was satisfied.
Ugh.. worse than Beethoven!! (I know.. I talk too much, so I'll quit now)
Japanese Gardens
"Air in E for Cello and Piano" ©
Kathlena Elizabeth Deles
Copyright April 02, 2002
Not to be used without express written permission from Kathlena Elizabeth Deles
I composed "Air in E" on my cello, and added the piano part later.
My computer doesn't like my cello transducer so what you hear is a midi synth.
It's a "modal" piece, meaning it is neither major nor minor in key signature.
The mode is Phrygian. You music buffs will know what I mean.
For the rest of you, that's all white keys on the piano starting on the E.
Air in E for Cello and Piano
"Walking Through a Dream" ©
Kathlena Elizabeth Deles
Copyright February 27, 2001
Not to be used without express written permission from Kathlena Elizabeth Deles
This composition is the result of dreams.
I kept having a series of repeating dreams
where things were vaguely familiar and yet, somehow, a bit off from as it should be.
The dream was always in black and white and "circular" in pattern.
There are no major chords in this project until the very last chord,
which represents the "And then I woke up" of the song.
Walking Through a Dream
"Elisi" ©
Kathlena Elizabeth Deles
Copyright May 1, 2002
Not to be used without express written permission from Kathlena Elizabeth Deles
This composition formulated from a poem my daughter
wrote about her great great great grandmother
who rests in a grave in an indian cemetery
with a marker simply engraved "unknown" near Webb City Oklahoma.
The original cemetery was moved uphill to make way for a recreational lake
and it seems that the government either could not
or did not bother to properly identify the deceased.
They simply moved the deceased and put
"unknown" markers in the new cemetery.
Elisi is Cherokee for Grandmother.
And Elizabeth Slade was in one of the last groups to be moved
from South Carolina to Oklahoma during
the great relocation known as the Trail of Tears.
This music is intended to make you
feel uncomfortable and driven against your will.
Elisi
Elisi Elisi ©
Elisi, Elisi, Your trek is finally through
You've borne through sorrow and pain
And to yourself stayed true
Your dogs I hear, Your home is near
Your children shout in chorus
For they're the ones, the little ones
They were here before us.
But Oh! Trail of Tears
Oh! Dusty road of sorow
Where on her knees Elisi cries
For those with no tomorrow
Elisi! Grandmother!
Shedding tears of blood so red
Oh! How you weep!
There's no respect for those
Who now are dead!
Elisi, Elisi, get up and greet your children
Get up for your people sing!
For you and your fellow brethren.
Elisi does not answer
Her voice so chok'd with tears
Grandmother still feels the pain
Of death thoughout the years
Oh Dread Trail of Tears
Oh! Dusty road of sorow
Where on her knees Elisi cries
For those with no tomorrow
Elisi! Grandmother!
Shedding tears of blood so red
Oh! How you weep!
There's no respect for those
Who now are dead!
Now we're all here all safe and sound
Our trek is finally done
From tears flee we Cherokee
Our freedom was hard-won
So sing you children, bark you dogs
While I will thoughtfully tread
The trail of tears where Elisi Cries
For those who now are dead.
Copyright July 2001-DeeAnn Elizabeth Deles
Graphics provided by Linkware Graphics
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