this healed me..absolutely wonderful. Quality work

Wonderful piano performance and tasteful orchestration.

Beautiful composition - great piano playing and passionate orchestration!

Hi Anastasiya, fantastic collab with Franck, just beautiful and sweet, great product :)

Hello, wonderful friends!

I'm very happy to present to you my next collaboration with an extremely gifted Franck Charles. You can find more of his absolutely amazing cinematic and orchestral music here: @franck-charles-676082884

As always, I am immensely grateful to Franck for all his magnificent work on my piano music, making it most beautiful in all facets.

Thank you so much for your interest and time, we do hope you will enjoy this piece!  

Credits:

Composition & piano performance: Anastasiya Ihnatovich
Arrangement & orchestration: Franck Charles

Time Is Fast (Ft. Franck Charles)

A very short, but powerful soundtrack inspired composition with big strings, percussions and brass. 

Une composition très brève, mais puissante inspirée de la musique de film avec des cordes, des percussions et des cuivres.

Lightning Charge

One Acoustic guitar, some Celli and Vibes. 
This track was originally called 'So, misogyny, racism and corruption are OK after all' after the orange nutter was re-elected in a democracy.
Robert Llewellyn pointed out that this was a waste of a lovely track. 
I was watching the latest Professor Brian Cox BBC documentary programme 2 'Dark Planets' in his series 'Solar System' and I changed the title to celebrate the amazing reality of our universe and our staggeringly brilliant scientific ability to perceive it. The best in humanity is inspiring.

Dark Planets

Picture by me of one of our great cats on a table
This track was created with the kong gadget app on ipad
Steinway piano gadget
M1 synth for soft bells
Polysix Synth for bass
a gadget called Berlin for the lead solo
and a sampler gadget called Bildao for the drums, it lets you import your own drums but i stayed on one of the stock presets
Also the Modules gadget for electric git and vibraphone
I couldnt resist ending the track with my signature sustainpedal hold ;))

Trust

We wanted to finish our trio of songs, and our gift to our Soundcloud family, on a lovely and upbeat note of hope; hope for humanity, hope for the world we call home, and hope for our destiny as a human race.  The ultimate theme of Christmas is redemption and hope, and with that thought, we wish you all a very Merry Christmas:)

Beautiful Poem & Narration - Peter; soundcloud.com/user-264930040/tracks
Lovely Left & Center Guitar and Narration - David; @david-dunhamuser589535203
Guitars, Music, Mix, Narration & Production - Seagull; @farout-music-studio

The Lost Path

Peter:
Stumbling down, falling from the path
Wondering what the future holds
Crumbling in the aftermath
The Easterlies bring winter’s cold
Pushing upwards, clamber back
We won’t concede to darkness clouds
Our trajectory is back on track
For a society with head held proud

David:
Won’t concede our children’s hopes
To nuclear weapon isotopes
Christmas calling from the bells
To drag us back from human hells
We won’t concede our freedom’s joy
By falling for the devil’s ploy
With a chain of hands across the land
We refute his vile demands

Seagull:
We lost our way in yesterdays
Seems we found the wilderness
But sanity will find a way
To build afresh and fix the mess
Reconstruct and laser cast
Shine the light with focused beam
Illumination clear at last
To reignite the human dream

Peter:
Won’t consign future’s child
To living in a world defiled
Christmas calling from the bells
Will reinforce what truth foretells
We won’t concede our freedom’s sun
But send despot evil on the run
A chain of hands, conviction wins
To lead us to the path again

Won’t concede to culture thieves
Who twist the truth that we believe
Our heritage is what we are
Leads us home when we stray too far
Returns us to the path we lost
Saves us suffering folly’s cost
Warms within, and strength imparts
To the burnished bonds of a Christmas family heart

The Lost Path (Peter, Seagull, David)

Live Reflexion #024

Banana #2

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

Unpolished stones

“snowman”

words and music Kevin Gennery
image not my own
For Nic, fellow Cloudy, local buddy and an amazingly talented singer, songwriter, musician and producer. 

Such a glorious sound you make,
like feathers on my nerves so delicate,
creeping down my spine, back up once again.

Those dramatic turns unexpected twists,
if there's one thing that iv'e learnt,
it's impossible to resist,
I don't even know you, yet you make me feel like I do.

A shot in the vain of something pure, breath taking scapes,
beguiling then bewitching us all,
this is a call....to arms.

Imagery and visions set upon my mind,
it's all smoke and mirrors but leave a trail for me to find,
takes me to a place where I want to go time and time again.

Like a shot in the vain of something so pure,
breath taking scapes,
beguiling then bewitching us all,
this is a call....to arms.

mixes

call to arms

I would be genuinely happy if my music could evoke your profound feelings.  Please use headphones if possible. 

I sincerely appreciate your interest and time.

Time Is Fast (Ft. Franck Charles)

Anastasiya Ihnatovich

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