I am currently a member of the American Music Center (AMC) and a writer/publisher member of the American Society of Composers, Authors and Publishers (ASCAP)
I compose contemporary concert and electronic music for full orchestra, chamber orchestra, piano, chorus, small groups of instruments, and soloists. Scores and parts are published and available. Some of the music I produce exists only as audio tracks-no scores- and can be downloaded on some digital music services.
I earned my MM degree from The Catholic University of America, Washington, DC. Private (one on one) music composition lessons were with instructor Dr. George Thaddeus Jones for three years. Some specific course titles are CHAMBER MUSIC COMPOSITION I & ll, LARGE INSTRUMENTAL FORMS OF COMPOSITION l, ll, lll & lV. Mr. Conrad Bernier was my FUGUE COMPOSITION I & ll instructor. In addition to the private instruction, I took classes titled LABORATORY FOR COMPOSERS, MUSIC ANALYTICAL TECHNIQUES, CONTEMPORARY PERIOD IN MUSIC, etc. My master's thesis titled "Symphony #1 in One Movement" was performed by the National Symphony Orchestra.
For ten years, I was a music instructor at a major national chain music store/studio where I taught instrumental music lessons and group workshops in MUSIC THEORY & COMPOSITION to children and adults.
I’ve had a long and successful career as a public school instrumental music specialist (group instruction), and as an instructor at a nationally known music center (private instruction).
My music production equipment consists of a Dell laptop computer running various music software programs. My favorite is Image-Line FL Studio Producer Edition 12. I have a 61 key Korg PA 900 professional arranger keyboard and a 25 key Korg Monologue synthesizer which I use for music production, teaching, and live performance. Some of my tracks are on the internet music services Spotify, I tunes, and others and occasionally I see automatic deposits into my bank from downloads and streaming. I am currently a member of ASCAP.
Experiences as a professional live performer started when I was in high school. I’ve been a member of several American Federation of Musician locals including Washington, DC, and Orlando, Fl. I am retired and part of my retirement income comes from the musician's retirement fund. At Walt Disney Grand Floridian Resort Hotel I played a solo piano engagement for a convention and I also completed a one month contract as the piano soloist in dining rooms and lounges on the cruise ship Fantasy cruising from Florida to the Bahamas. Early in my career, I was in the First U.S. Army Area Band (New York City, NY) for 2 years where I rehearsed and performed concert and parade music.
I've also studied jazz piano and arranging with instructor Bill Potts at Montgomery College. Rockville, Maryland.
• Reviews of my compositions - "Patrick Riley, though an undiscovered compositional
voice, has been a very active educator and performer of music throughout his career. Riley has
composed many pieces, with a vast array of instrumentation and style. Riley has composed two
complete symphonies and multiple other works for either full orchestra or string orchestra. He
has also written choral works and many instrumental chamber works for a variety of ensemble
sizes. As a composer, Riley often attempts to incorporate elements of the styles he performed
frequently, which include jazz, Latin, and rock. He is also interested in using computers, midi
equipment, and synthesizers to create and record music. Patrick Riley attempts to compose
using a polystylistic approach, and his music certainly confirms the use of many different
influences. Much of Riley’s music can show certain elements of expressionism, primitivism,
minimalism, the use of electronics, and more. I would not try to claim that Patrick Riley is a
composer of any given style, but rather that many different styles are present and equally used
in his compositions. Divergence for Orchestra and Pre-recorded Audio is one of Riley’s longest
and largest scale pieces. It is a four-movement piece written for a full orchestra, with at least 3
percussionists as well as an electronic audio recording. Also within this piece are examples of
primitivism. Rhythmically, there are a lot of patterns that are syncopated, accented, and go
through different meter signatures, which are all common of primitivism. Patrick Riley’s works
are truly polystylistic and cannot be claimed by any single twentieth-century influence. Riley is
constantly taking influence from sources such as contemporary music, jazz, and even from
pre-classical period music. Though undiscovered, Riley’s compositions are vastly worthy of
musical and intellectual analysis for his broad usage of style blending and sensitive musicality.
The review was written by Jeff Kirkpatrick
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