Ilexa Yardley

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Ilexa Yardley writes music to think by. Deep and complex, relaxing and intuitive, Yardley’s music takes listeners to an internal, peaceful state. Yardley says she strives to integrate intuition, emotion and thought in her compositions, using complex, yet very simple, keyboard progressions to do so.

Yardley’s music has been described as a cross between new-age keyboard and film score backdrop. Many people say it surrounds them in a comforting way. Some use it to paint, sculpt, write, think. Some say the music makes them feel safe, centered, and creatively ‘still.’ That’s what Yardley is after, she says.

Ilexa was trained as a classical pianist and started writing music at the age of six. Like many musicians, she criss-crossed back and forth from her own compositions to the work of the giants in both classical and jazz. She was influenced by her father, who was a guitarist, as well as Chopin, Stephen Foster, the opera repertoire, and the music of Wagner, Puccini, Mahler, Mozart, Beethoven, Elgar, Donizetti, and Rachmaninoff. Similar to many artists, Yardley says music was (is) always an escape, a safe-haven, a sounding board, a friend, and a reliable lover of sorts. Yardley says music has been a unifying experience and process, the one constant in her life.

The Taos Trilogy was written during a summer stay in Taos, New Mexico, in 2004, in memory of her father, who had passed away six months earlier. Yardley composed and recorded it with a Kurzweill XS2600.
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