So heartfelt and full of love…the voice, the harp, the guitar—everything feels like a warm hug for him. It’s honest, tender, and really moving. ❤️

Beautiful music. I hope grandpa was able to hear and feel the love ❤️

A very special composition. In context, text and vocals

original work and catchy project🤛💯🤜⭐✅⭐✅🤝👍🏻

Why is the best music all out of Australia!

Angels

'reachin' for the rock'

note: another live phone recording 

Well, I pay into a union that can't guarantee a job,
yet, instead protects bitchy, senior, lazy, inept slobs
who go in each and every day and bitch and fuck the dog.
It's no wonder we are sinking and are reachin' for the rock.
Fuck them all. 

These people do not realize how easy what they do
is and I just wish that I could explain it to you
but if my cover's blown then chances are that I am through
even though the words I speak are absolutely fucking true.
Fuck them all. 

Don't get me wrong, I love my job and want permanency.
It should be based on performance and not just seniority.
For these lazy, bitchy sacks of shit, and upper level greed
will sink us in the end and kill this once great company.
Fuck them all.


reachin' for the rock

Cast of Characters:

Joe Stroffolino-- @joseph-stroffolino -- Taylor 114ce acoustic guitar, main vocals, harmony vocals, lyrics, composition

Llanpsych -- @llanpsych -- Tez – Epiphone Les Paul electric guitar

K2 and the Three [and the Four]--@k2andthe3, @k2-kara -–Ken–drums and percussion

Entheogenic Psychonaught (Josh Clary)–@josh-clary-1 –- four string Fender Precision Bass, and Roland organ

TexMex Shaman–@texmex-shaman –Stephen– Tom Anderson Custom T electric guitar, mix, mastering, and production

  
This song began when Joe, feeling a bit nostalgic, wrote the lyrics and composed it on his acoustic guitar. He recorded it and sang it with expert harmonies, then decided to share it with Eclectic Collective. We were all very excited to get work on our second song with Joe, as we all admire his songwriting.

  First up was Tez this time, oddly enough. He was able to identify all the fill spots and light up the solo without the rest of us even adding anything yet. Next came Ken, who usually goes first, adding his steady grooving drums and tasty percussion. Once the drums were down, Josh completed the rhythm section by adding his fretted bass. He also worked out an organ part to give the whole sound a bit of thickness. Also adding some thickness and texture, Stephen added a clean electric rhythm part, as well. 

  Once we had it in can we asked Stephen to mix and produce it for us, which he did in his always expert fashion. 

  This, as mentioned, is Eclectic Collective's second song with Joe, and we all enjoyed bringing it to life with him. He's a wonderful collaborator and an all around good dude. Do yourself a favor and go check out his page, which is rich in great songs. We hope you enjoy listening to this as much as we enjoyed making it.

Original lyrics by Joe Stroffolino:

If you find yourself in trouble and you think you've lost your way. 
Here's hoping that you find a path to a better day.
I sure hope that you're happy.  I'm wishing you the best.
I hope you find what you're looking for as you continue on your quest.
I hope you find all the answers to all those questions vexing you.
I hope you can find a way not to bite off more than you can chew.
I sure hope that you're happy.  I'm wishing you the best.
I hope you find what you're looking for as you continue on your quest.
You spread your wings and you flew so far away from me.
I hope that you're enjoying your new reality
All those places that you said that you wanted to see.
I hope they're as good as you expected them to be.
I want you to know that you hold a special place in my heart.
I think about you often even though we are apart.
They say that when you love somebody sometimes you gotta be willing to let them go.
You gotta let them spread their wings and fly wherever the wind decides to blow. 
I sure hope that you're happy.  I'm wishing you the best.
I hope you find what you're looking for as you continue on your quest.
I hope that you're happy. I hope that you're doing well.  I sure hope that you're doing swell.You spread your wings and you flew so far away from me.
I hope that you're enjoying your new reality

Hope That You Are Happy - (Eclectic Collective with Joe Stroffolino)

My Method of Composing and Producing

I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Suite for Woodwinds and Percussion No. 2

My grandfather is very sick and in the hospital. The only way I know how to show I care is to write a song. Ergo, I present: "Coolest Man". A song for Geoff Newton.

Lyrics:

Pour out a glass for my grandfather,
Wise were his days and his eyes were like rays of light,
that stilled,
the time,
away.
Oh, my grandfather is,
the coolest man,
you ever did meet.

Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The 
Coolest Man You Ever Did Meet Yeah The
Coolest Man

Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The
Coolest Man

Oh, yeah.

Composed, performed and mixed by Norsa.

Coolest Man

🎼 DestKorn – Hope With You
🎹 This piece was composed and performed entirely by hand – no AI was used.
Every note you hear in “Hope With You” was created with emotion, not code.
I believe that music should remain human – honest, imperfect, and full of soul.
Watch the full creation process here:
👉 https://youtu.be/FqZbeL-EE6Y?si=Rv0xacWx3EAVf7To

#RealMusic #NoAI #HopeWithYou #DestKorn #FLStudio

🎹 Dieses Stück wurde komplett von Hand komponiert und eingespielt – 
ohne KI.
Jede Note in „Hope With You“ ist Ausdruck echter Emotion, nicht künstlicher Berechnung.
Ich glaube daran, dass Musik menschlich bleiben sollte – ehrlich, unperfekt und voller Seele.
Hier kannst du dir den Entstehungsprozess ansehen:
👉 https://youtu.be/FqZbeL-EE6Y?si=Rv0xacWx3EAVf7To

🌊 Part of the album Tides of Melancholy
“Hope With You” is a deeply emotional piano composition born from silence.
It carries cinematic melancholy and delicate strength, telling the story of something that remains – hope.
Soft passages alternate with dramatic surges, as if each note echoes from within.
It’s music for late hours, memories, and the distant glow of something still possible.
This track is not just music – it’s a conversation without words.

Teil des Albums Tides of Melancholy

„Hope With You“ ist ein tief emotionales Klavierstück, das aus der Stille geboren wurde.
Mit melancholischer Tiefe und filmischer Weite erzählt dieser Track von einem Gefühl, das bleibt – Hoffnung.
Die Komposition wechselt zwischen zarten Passagen und dramatischem Ausdruck, als würde jede Note ein inneres Echo tragen.
Es ist Musik für einen einsamen Abend, für Gedanken an Vergangenes, für das Licht am Horizont.
Wer zuhört, wird nicht nur Musik hören – sondern ein Gespräch ohne Worte.

🎶 Album: Tides of Melancholy
🔗 Folge mir für mehr Musik.

Note: This track was entirely composed, performed, arranged, and produced by myself – without the use of artificial intelligence.
Creating authentic music with real emotion and personality is important to me. Thank you for listening and for your support.

Hinweis: Dieser Track wurde vollständig von mir komponiert, aufgeführt, arrangiert und produziert – ohne den Einsatz künstlicher Intelligenz.
Echte Musik mit authentischen Emotionen und Persönlichkeit zu erschaffen, ist mir wichtig. Vielen Dank, dass du zugehört hast und für deine Unterstützung.

℗ 2025 DestKorn | © 2025 DestKorn. All rights reserved.
Unauthorized use, reproduction, modification or distribution of this track is strictly prohibited and will be prosecuted under applicable law.
℗ 2025 DestKorn | © 2025 DestKorn. Alle Rechte vorbehalten.
Jegliche unautorisierte Nutzung, Vervielfältigung, Bearbeitung oder Verbreitung dieses Tracks ist untersagt und wird rechtlich verfolgt.
Artist & Publisher: Matthias K. / DestKorn
SenneRecord – established 2012

Tides Of Melancholy

Hope With You

Special trombone glacier melt ice effects by soundcloud.com/joerxworx

Forgotten Glacier

Forgotten Glacier feat. joerxworx

It's a pleasure to see the sun again ! In this track I used classical guitar, electric piano & guitar, piano, percussions, drums & bass. Thank you for passing by and listening !
Composition: Julien Apelian
Recording studio: Audio Colors
May, 17th, 2025

Here comes the sun again

For the Ones Still Listening Pt. 2

Whispering Elbows of Time

#guitar #accoustic 
#sad #indie #grunge #goth #indie #alternative #grunge #instrumental 

do you still feel it

NEW EP: 'Hedges & Norsa & Willy' OUT NOW!!

Contact Norsa at mattnorsa@gmail.com

Coolest Man

Naïve Composer

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