Your Mix 1

This song is a little thank you to the MRI technician, who was not happy with me, she wanted me to keep still but the electronic sounds were so fabulous and I found it very difficult not to move.

https://youtu.be/4nG-2tyw2Ao

Resonance is majestic
It sure knows how to thrill
Moombahton, juke n'breakbeat
Occasionally deep chill
Girl behind the console
Said I must act more responsible
I need you to keep still

Lay still upon that flatbed
Diagnostics take their time
The protons in the molecules
Need time to realign
The protons in the molecules
They follow scientific rules
Every single time

Moombahton, juke n'breakbeat
A little bit of house
Shot from the anaesthetist
The lights, they just went out
Shot from the anaesthetist
To help with the analysis
Of the Administer of Grime

Lay still upon that flatbed
That is what she said
Lay still upon that flatbed
When I moved, well she saw red
Lay still upon that flatbed
She said that every time
The Administer of Grime

The Administer Of Grime

We are pleased to present track 2  from our new album, 'Haunting One Seven,' full album available on Bandcamp, we hope you’ll enjoy!

outstation.bandcamp.com/album/haunting-one-seven

Haunting One Seven

Free And Easy

Fantastic collab with Marty visit his page here:
Marty Andersson : https://soundcloud.com/mkandersson1982

Till The End

Live Reflexion#022 (extended)

Banana #2

A song that was particularly close to my heart to remix and especially to sing...So I tried to put my voice on this title that I love so much....And it is with immense joy that musical accomplice for almost 10 years....accompanied me on the piano.

Karine L.
KAELLE

DANCING ON MY OWN REMIX

Never mind the cheese - this is the bollocks. The Recursives give The Undertone's classic some welly - captured live at The Hand pub in Llanrhaeadr-ym-Mochnant
Al - lead vocals and bass
Bri - backing vocals and tambourine
Neil - backing vocals and drums
Tez - guitar

Teenage Kicks -  The Recursives

Blackout

written, performed and produced by Richard Brown.

Lyrics:

I feel it comin I feel it within
My worlds getting darker the lights getting thin
I’m dying of hunger I’m dying to live
The spell that I’m under has left me in sin

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

It won’t be for nothin if I’m not to win
I’ll take what I’m given and drink it like gin
I’ll crawl through the darkness against the cold wind
And claw at your feet til you let me in

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

Blackout

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YouTube: https://youtu.be/kugEjJJMXy4?si=_U_Ou3vet8mT9Hqn
Spotify: https://open.spotify.com/intl-de/album/4lgUnAkKQZabH3NqVcTR3H?si=R-Z5a2TKRZqpPr8c_SfPFw
Amazon: https://amazon.de/music/player/albums/B0DSTZYHV8?marketplaceId=A1PA6795UKMFR9&musicTerritory=DE&ref=dm_sh_qQ91mYJs4ptZfoQjp8MsKHU19
Apple: https://music.apple.com/de/album/echo-des-vergessens/1790416748?i=1790416749
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Lyrik: (The English translation is below the German lyrics)
Durch die Straßen grauer Zeit
Weht ein Echo lang verklungener Tage
Lang verklungener Tage
Und die Sehnsucht macht sich breit
Nach dem Lachen, das ich in mir trage
Das ich in mir trage

Jugendträume, leicht und klar
(Träume, leicht und klar)
Tanzen wie ein Sommervogelpaar
(wie ein Vogelpaar)
Schweben durch den Nebel meiner Jahre
(durch die Jahre)

Doch das Echo des Vergessens
Weht wie Herbstlaub durch die Zeit
(durch die Zeit)
Und die Spuren des Vermissens
Zeichnen Bilder der Vergänglichkeit
(der Vergänglichkeit)

In der Stille dieser Stadt
Treffen Welten aufeinander
(Welten aufeinander)
Was einst Kraft und Klarheit hat
Wird nun fremd und immer distanzierter
(immer distanzierter)

Zwischen Gestern und Heute
Tanzt ein Lichtstrahl durch die Nacht
(durch die Nacht)
Was die Zeit uns einst bedeutet
Wird durch jeden Schritt erwacht
(neu erwacht)

Und das Echo des Vergessens
Wird zur Brücke dieser Zeit
(dieser Zeit, dieser Zeit)
Aus den Schatten des Vermissens
Wächst ein neuer Weg zur Wirklichkeit
(zur Wirklichkeit)

In der Stille dieser Nacht
Find ich mehr als nur nach Haus
(mehr als nur nach Haus)
Was verloren schien, erwacht
Ich freue mich darauf
(freue mich darauf)

English translation:
Through the streets of gray time
An echo of long faded days blows
Long faded days
And the longing spreads
For the laughter that I carry within me
That I carry within me

Youthful dreams, light and clear
(Dreams, light and clear)
Dancing like a pair of summer birds
(like a pair of birds)
Floating through the mist of my years
(through the years)

But the echo of oblivion
Blowing through time like autumn leaves
(through time)
And the traces of missing
Draw pictures of transience
(of transience)

In the silence of this city
Worlds meet
(worlds meet)
What once had strength and clarity
Now becomes strange and more and more distant
(more and more distant)

Between yesterday and today
A ray of light dances through the night
(through the night)
What time once meant to us
Is awakened by every step
(reawakened)

And the echo of oblivion
Becomes the bridge of this time
(this time, this time)
From the shadows of missing
A new path to reality grows
(to reality)

In the silence of this night
I find more than just home
(more than just home)
What seemed lost awakens
I am looking forward to it
(looking forward to it)

Echo des Vergessens

noxpox - Why Are They Afraid Of Freedom?

Music, lyrics & production by Sergey Ruban

Return To Flight

Kenny Roger’s Cover with my musical friend from North 🇺🇸

You Decorated My Life

Contemporary work for String Quartet, Woodwinds and Percussion.

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 Chamber Ensemble 2024

Suite For Chamber Ensemble 2024

Blues No.6

Re-imagining the fanciful, schmaltzy song “Matchmaker, Match Maker” from the hit 1964 musical “Fiddler on the Roof as a jazz waltz. The song was written by Jerry Bock and Sheldon Harnick. It was sung by three daughters of a religious Jewish couple who hire a matchmaker to find suitable husbands for the young women.

Matchmaker, Matchmaker

Heavy Punk Rock 'n' Roll band turns into Synthwave nowadays! Brand NEW album "Ultraviolet Cosmos" available NOW!
https://shockthealgorithm.bandcamp.com/album/ultraviolet-cosmos

New piano piece: Live Reflexion#036

Composer on minor keys. I play by ears since my youth days, I love all kinds of music 

All tracks are originals, composed, produced and performed by Rina (myself) except covers  at 4face Musik

If you are intetested to buy my tracks, just email me 
4facemusik@gmail.com

Respect to all Soundclouders, proud to be on this platform and I thank you so Very much..
Peace,
Rina

Live Reflexion#022 (extended)

4face Musik

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