Name: Elegy Part I by Ari García
Duration: 2 min 24 s
Description: This is the first track of a three-part series.

beautifully played piano, nicely interspersed with other instruments...great work

Buy link:
https://www.traxsource.com/track/9811905/la-luz-original-mix

Hotmood - La Luz (Discoweey)

Recording of my opening set i played at the Easter Wax in CLIMAX INSTITUTES. This is also a promomix of my music for warm up/opening Sets. Enjoy!

Opening Set EASTER WAX @ CLIMAX Stuttgart

Music & Lyrics: Jan Schonander

This is unapologetically inspired by the A-side to one of my favorite albums of all time. I'll let you guess which album that is - if you are older than 50 it will most likely be easier.

A lot of us spend our lives chasing a dream, and despite reaching milestone after milestone the dream is always just beyond our reach. If you're lucky all you need to do is stop and think - maybe you're already there. I was reminded about this when told a story about a popular beach boatman asked by a hedge fund manager why he doesn't invest in an additional boat. After many questions the investor tells him that after years he could become so financially successful that he could spend his afternoons with his family and friends. The boatman tells him that after his morning fishing run that is already what he does. 

The guitar is a Logic Pro X Heavy Metal Guitar. For the drums I "mixed it up" a bit by using more reverb on the snare than on the rest of the drums. Also had a hi-hat in there initially but I took it out as I thought it muddied up the sound too much. In general I debated how much reverb to use and progressively used less and less to try and warm it up. For the bass I combined an electric bass with a traditional standing base. I departed from my usual approach of trying to reproduce as natural a piano sound as possible by using equalization to mainly remove some of the high and low end - the purpose being to create a "lo-fi" sound. Finally, the synth is Nord Native and treated with some ringshift to get the moving in and out your ears effect.  

LATELY MAYBE

Too much
Not enough
Will I ever
Is it never
I can’t see
Will it ever be

Lately, I’ve been thinking too much
Lately, I’ve been dreaming too much
Maybe, I’m in heaven
Maybe, I made it yesterday

Is this the end
Or could it be the beginning
I can’t tell
It seems a bit like hell
So many moving parts
So many false starts

Lately, I’ve been thinking too much
Lately, I’ve been dreaming too much
Maybe, I’m in heaven
Maybe, I made it yesterday

Too much
Not enough
Lately
Maybe
Lately it’s been too much
Maybe it’s been too much

Lately Maybe

Spotify

Cuban record collector & DJ Cami Layé Okún picks an hour of global vinyl via Havana every month.

https://www.nts.live/shows/cami-laye-okun/episodes/cami-laye-okun-28th-february-2023

Insolar w/ Cami Layé Okún 280223

Inevitable Ending

Armen Miran & Hraach - Aldebaran

This is a track I wrote in Berlin a few years ago.

Noir Et Blanc

> https://www.mixcloud.com/cami-lay%C3%A9-ok%C3%BAn/
> https://www.instagram.com/camilayeokun/

Cami Layé Okun • DJ Set

Ra-Smith & Winnijin (MZNAME) - Listen and remember

This is the first track of a three-part series.

Elegy Part I

Cranes look sublime and graceful to me, like for people in many cultures. Often – like in my home country, Germany – they are seen as heralds of good luck, because their return early in the year marks the beginning of spring. During their journeys they fly in great heights. They are also know for their joyful dancing. And since Sadako Sasaki they are not least a symbol for peace in the form of fragile origami cranes. All of this I tried to capture – the sublime appearance, the solitude while flying high in the air, the elegant dancing – and embed it into a peaceful atmosphere. 

---

This track is more a composition than a song. It may seem a bit complex at first, but it's in fact quite simple if the form is understood, so I want to tell you a little bit about it here. But probably listen first and then read on if you want. 
So it begins with the strings playing an intro, joined by the piano. After that you hear a piano melody in the left hand. This goes on for quite some time, joined by a melody in the right hand, that is of a pentatonic nature (although it actually has only four different tones). This pentatonic style gives it a somewhat asian touch, which I like very much. The bass part in the left hand consists only of offbeats, while the pentatonic melody is always on the beat, creating a moderate rhythmic drive. All this resolves in a varied reprise of the intro (where you hear the pizzicati), followed by a more calm reprise of the intro. The reprise of the intro serves as a transition to the string quartet part that follows. This string quartet part sounds completely new, but it in fact is build around the bass melody in the left hand of the piano from earlier in the track. This melody goes from the viola through the second violin (transposed a fifth up) into the first violin. In the first violin, the former bass melody is varied to become a whole-tone-melody, which leads to a completely pentatonic part. The composition technique changes here: during the first part of the string quartet it resembles polyphonic music (though, of course, being harmonic), then it becomes homophonic and is more focused on the sound that all strings form as a whole. This sound is then just moved up and down, no matter the key or tonal function. During this part, the piano melody from the right hand is heard, now appearing in a completely new light. It resolves into tonality again, and the string quartet becomes more polyphonic. Then, another reprise of the intro – again serving as a transition but also as a stabilising reappearing element – leads to a piano solo part, that is basically the piano version of the first polyphonic string quartet part. It ends with exactly the chords that appeared in the intro. 
So overall, the composition consists of three parts – one predominantly rhythmic part, string quartet, piano solo – that build upon and refer to each other, connected by a reocurring transition and framed by an intro/outro. 
I hope this makes sense to you. Because to me, it is very important that the form of a composition makes it feel like it is a complete whole. If this is not the case, the composition often runs into danger of feeling random, and so there can be no emotion that emerges from the reappearance of an earlier part. The form is contributing considerably to the feeling of tension and release, and therefore is also a great carrier of emotion. At least this is how I see it. Feel free to let me know in the comments or via a message how you see it, it's very interesting for me to talk about that.
___
Thanks to Alfred Leung for the original photo on unsplash.com:
https://unsplash.com/photos/FmnZFoRdDYw

Cranes

Kraniche (Cranes)

Have you ever tried to write a Christmas song? Well, I've tried to write an instrumental song and this is how it sounds. I really hope you like it!

Christmas Waltz

Musician. Pianist. Composer. Normally, I find inspiration in pictures, photos, or places out in the nature, but I also try to write songs for meaningful events.
In the next months I'll be uploading new things.
I hope you'll enjoy them.

Elegy Part I

Ari García

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