Lost Mist - Edit (from Wolfweeds)

Cast of Characters:
Stonerjazz-- @user-911083679 -- narration of questions
Surfers Like Us– @user-411502040 –Artur– guitar
mistermark-- @user-432503709 -- Mark—synth effects, synth strings and flute, lyrics, and vocals
Llanpsych -- @llanpsych -- Tez – guitar and production
TexMex Shaman–@texmex-shaman –Stephen– guitar, banjo, slide, sitar, and production
J.J. Terrell–@j-j-terrell –electric piano, organ, synth, bass, drums, vocals, and production
K2 and the Three [and the Four]--@k2andthe3, @k2-kara -–Ken–drums, percussion, and vocals
Entheogenic Psychonaught (Josh Clary)–@josh-clary-1 –- guitar, bass, madolin, keys, banjo, lap steel, sitar, and vocals
Huge thanks, too, to the other featured musicians to whom we're very grateful to for sharing their music and talents with us this past year. They are the fuel that drives the EC into new musical realms. They include:

(especially) CGMANESS-- user-419254289-15129531
TEA R. SEA-- @tea_are_sea
STEVE'S PLANET-- @steve-vervaet
JOHN ANTHONY-- @john-anthony-871225464
JEFF ROBERTS-- @jeff_roberts
ELPIVERSE-- @elpiverse 
SCOTTY (ONE MAN VERITY SHOW)-- @one-man-verity-show 
ROY ROY-- @user-967672349
MARK FOSELLA-- @mark_f_2019 
FRANS BEELAARD-- @user-936947521 
THE MYSTERIOUS DECIBEL--  @themysteriousdecibel 
DAVID MARCONI-- @david-marconi-917184705 
RON LEWIS--  @ron-lewis-779503933 
JAMES TOBUREN (WITCHES OF THE ALAMO)-- @witchesofthealamo 

  Well folks, it's that time of year again. It's time for the Eclectic Collective to take stock of the fruits of the year previous, and reflect on what making music together means to all of us. We hope you all take a chunk of time and indulge in our gift to you. We wanted to address every one of our SoundCloud friends with our voices as an intimate way to connect with each of you.
  This has become a tradition within the EC now that we've made it to our second (and a half) year of making music together. For the second time, JJ asked our friend and sometimes collaborator Jeff (Stonerjazz) to ask some interview questions of us. Then, we all came up with the answers and sent them to JJ to assemble the project.
  This mighty music machine we've created, that manages to release a new song every Friday, wouldn't mean anything if no one was listening to us. Which is why we want to extend our very sincere thanks to you for tuning in and supporting our efforts. If one other person gets joy from our music, that's such a huge accomplishment. However, it really feels like a bunch of people whom we really respect are digging what we're doing, which feels truly humbling and fulfilling. 
  With that, we hope you enjoy hearing us voice our thoughts over the highlights of our musical year as much as we enjoyed a year rich in music and comradery. Happy New Year!
 Here's a breakdown of the time stamps for each of our individual questions and answers, in case you want to skip ahead or want to hear someone more than once. 
1:28 TEZ Q1
2:20 TEZ Q2
2:37 TEZ Q3 
4:42 KEN Q1 
7:36 KEN Q2 
13:04 MARK Q1
18:42 STEPHEN Q1 
23:21 JOSH Q1
27:36  ARTUR Q1  
32:00 J.J. Q1

The 2024 Eclectic Collective Rockumentary

Open Collab remix : https://soundcloud.com/noxpox-page-16/noxpox-uno-tekno?in=noxpox2/sets/noxpox-open-call-fro

tEk nO tEknO (noxpox - Open Collab)

Work for 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 Woodwinds and Percussion No. 1

Suite For Woodwinds and Percussion No. 1

" He lost it "

5:15 The Angels Have Gone (David Bowie cover)

Recorded in Shalesmoor Sheffield in 2012
GPMT:
Drums: Mik Glaisher
Keyboards: Andy Peake
Sax/Flute: Nigel Manning
Bass: Terry Todd

Nigel Manning's Album

'CUBAN HILL'  Live Improvisation (2012) Band: GPMT

NOTE: SOUNDCLOUD UPLOAD PROCEDURESS ARE BASICALLY BROKEN. DEATH BY CATERING FOR AN INDUSTRY, NOT PEOPLE.


method: taking the sl 2 (and some other pedals) for a ride into lush territories and then  being rigidly minimalist in the initial mixing … the initial mixing, yes …. things evolved a bit on the longish side, though ... I hope the endeavour is worth your while …. there will be carmenta pt2 soon, then employing the (older but less menue-diving) sl 20 pedal

narration: https://en.wikipedia.org/wiki/Carmenta – creating categories on the fringes of the unconscious tends to corrupt perception which is why the number of sibyls (or fates, or muses) varies dramatically over time and cultural stages – even if you do not hear it at first, the full poem is included in this soundscape

image: a fridge magnet (made of fake marble and adorned with a tourist version of the etruscan alphabet) was purchased at the gift shop in the villa giulia in rome which houses the etruscan museum. I went there more than a decade ago and very much enjoyed mostly empty showrooms at year’s end, much to my delight. The electronic gear also shown is a lot more recent and the overall mesh-up-art is just nice as is- long live gimp  ;-) copyright jo richter

poem / copyright jo richter
(actually, the poem is titled ETRURIA. For this album, however, three syllables  are mandated which is why I chose the name of the sibyl referred to, carmenta, who is supposed to have shifted the spelling of the letters to create the etruskan alphabet, later inspiring the „latin“ letters):

aporia
aporia
all new shapes to
praise carmenta

dolphins leap through
arcs made of waves
to welcome the new
lines, strokes and staves

etruria
euphoria
raise your caverna
and praise carmenta

carmenta pt 1

Eternity

Shutting Out Evil

Cellar Of Darkness

Would I trade the good 
Of this by ridding myself 
Of any joined bad?

::

Original music & haiku poetry by Bob Weathers

For my beloved Nubian brother...in celebration of the day he was born

tEk nO tEknO (noxpox - Open Collab)

aTch