Boyan Boiadjiev |

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World: World Fusion Easy Listening: Adult contemporary Moods: Type: Instrumental
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by Boyan Boiadjiev

A mellow, yet captivating acoustic guitar-driven sonic experience infused with world, pop, and folk influences.
Genre: World: World Fusion
Release Date: 

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  Song Share Time Download
1. I Come Back to You
3:33 $0.99
2. Ali's Dance
3:25 $0.99
3. Leaves of Three
4:30 $0.99
4. Mandala
5:17 $0.99
5. Answers
5:03 $0.99
6. Blossoms of Red
5:41 $0.99
7. Sofia, Mali
3:51 $0.99
8. Little Big Thing
4:08 $0.99
9. Raindrops
2:11 $0.99
10. Crystal
4:11 $0.99
Downloads are available as MP3-320 files.


Album Notes
1.) I Come Back to You
This is the first song that I did for this record. It came from an idea I had for a pop song while in Sofia. It was a song about not belonging. These were the thoughts in my head after having returned home to Bulgaria after living in the US for 11 years. So, when we came back the States later that year I sat down and recorded it in one pass. After that, I improvised the melody over the sequence. It came together on its own. I love this melody and I hope people find it as comforting as I do. Or, maybe it will produce a bit of nostalgia?

2.) Ali's Dance
This song is dedicated to my friend Daniela’s little girl, Alexandra (Ali for short.) A toddler with incredible energy! One evening after having visited Daniela and her family I sat down and played this syncopated pentatonic melody. It just kept going and going, so I decided to let it develop. I constructed the song around this melodic line. What was challenging about the song was playing the Bulgarian folk music style ornaments on the guitar. These are the quick trills that you hear between notes in certain sections! It was great fun and a real challenge, but I wanted a bit of that feeling in the song. Given the nature of Bulgarian folk music (odd time signatures) this song is surprisingly not in odd time. This piece produced many additional ideas. Perhaps some that I will put on my second album . . . but it will bear a much darker and more menacing tone!

3.) Leaves of Three
This song started with the three chords -- (Badd11 – D/F# - Amin7) -- that I came up with while practicing one evening in Sofia. The sequence struck me immediately because of its shifting, unstable quality. The melody came right behind it. I recorded it quickly and left it to stew for a while. When I thought to include in on "Prime?" I wanted to galvanize the song’s instability and the tendency for the melody to shift. I topped it off by putting in some contrast – a Bulgarian dance in 7/8 followed by a chiming chord section to lead back to the main body of the song. The song fluctuates between 11/8 and 7/8 time signatures, but I wanted it to be a subtle transition and leave the melody to lead.

4.) Mandala
It started out as a pop song idea and then I decided to add a sweet chanting section at the end. I then developed two additional sections to tie it together. I wanted the melody to be in a waltz meter but have a folk mood at the same time. I think that the 3rd part of the song encompasses those two ideas. I really loved putting small dabs of keyboard on this record so I decided to double up the melody on piano on “Mandala.” It might become a pop hit as soon as I add some lyrics!

5.) Answers
This is the most introspective song on "Prime?". The recurring melody is played using various techniques, fingerings, and harmonics. To me, it mimics the way people go about doing things, attempting to accomplish something by repeating a pattern but with slight variations in technique. Our movements, thoughts and social behaviors have their own patterns. Can we escape those patterns? Or, like in this song, can we re-energize them by changing our technique?

6.) Blossoms of Red
This is a chord sequence that I came up with while living in Bloomington, IN. The melody that I wrote for it reminded me of a Joe Satriani-style ballad, which Joe would usually play on the electric guitar . . . but I wanted to keep mine acoustic. My nylon-string Godin gave the melodies a different character, making them much more immediate. My wife Kayleigh took note of the song and suggested I put in a contrasting section in a minor key. So I did, and it ended up even more beautiful than before. The song is dedicated to her and her beautiful, coppery locks.

7.) SofIa, Mali
I worked hard on this! I wanted to mimic the sound and phrasing of the kora, a brilliant African instrument with up to 21 strings! I was exposed to African music, and the kora, while working at the Lotus World Music Fest. At first, I had to play the phrases at a snail’s pace until I could get them to flow properly. I ended up with several repeating riffs with variations. I added some percussion and textures to flesh it out. I like the sound on the recording; it is as rustic as I could have made it.

8.) LIttle BIG ThIng
It started very simple . . . and I wanted to keep it that way. There were many ideas for developments, key changes, instruments . . . but I decided against them. The main melody is a little more elaborate, but the song remains based along the gentle chord sequence. The chorus, which repeats twice, is from a song I did in Jazz composition class, led by pianist Joe LoCascio in Houston, TX. I love that chord progression and it had to have a place here. Just goes to show that even little things can become BIG.

9.) RaIndrops
This song is a leftover from the process of writing “Sofia, Mali.” There were so many possibilities and sections that I could have included but I narrowed it down to these several sequences. I love classical guitarist Andrew York’s music, and I was hoping to instill a bit of his magic into this one. I originally came up with the sequence one rainy evening while living in Bloomington, IN. What excites me about this song is the flow of motion, the ascend-descend of the melody, and the wider intervals between notes. Oh, yes. I am sure it will sound great on other instruments too. Maybe piano . . .

10.) Crystal
The song was written after my father-in-law had a minor stroke. Today he is on a fast track to recovery but the experience reminded me of the fragility of our human bodies. The bittersweet character of the melodies and slightly off-center timing represents the delicate balance in which our bodies function.
Like many other compositions in the world, I’m sure, this can be called an amalgamation of several different ones. The chord sequence was an old idea I did for a dance track (if you can believe) and I added bits and pieces from other tunes. The main melody tied everything together nicely. The second part of the melody (technically the Bridge) was born out of me attempting to play only with my 1st and 3rd fingers of the left hand, which forced me to slide around and change positions in what was, at the time, an awkward way. While trying to navigate with only two fingers this melody slipped into place.



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