Name: sincerely by sevenmiddlenames in Related tracks: Tree Tops (Eclectic Collective featuring Tea R. Sea)
Duration: 3 min 38 s
Description: a sweet afternoon at the old fashioned dream carnival by the sea

Beautiful performance & solid authentic piano . 🎹👍

Magnificent piece…so moving🌹🌹🌹🌹🌹

A true gem of musical expression. Excellent piano, production, mixing, and an overall audio delight!

Mmmm, some luscious and rich moments. I liked Mark's thought - a sense of nostalgic poignancy as the credits roll. You are so accomplished, always a delight.

The setting is set, with this description .... and the imagination can roam, walking along the sandy beach to the rhythm of the waves that freely continue their propagation .... Your performance is very expressive.

i love this ❤️‍🔥  so atmospheric sounding … just beautiful, sincere and heartfelt ♥️

Related tracks: Tree Tops (Eclectic Collective featuring Tea R. Sea)

track 04 / street fighter theme
short stuff EP / releasing july 2023
10 songs in 5 minutes. ***

album artwork by my daughter - www.instagram.com/iboyte/

1. big fuzzy bumblebees 00:39
2. you're everything to me 00:34
3. handsome model man 00:35
4. street fighter theme for bass guitar, oboe* and flute** 00:35
5. any other way 00:11
6. i am not the one (ft taxihome) 00:30
7. hoochie mama (ft auntspinkick) 00:24
8. and they wait for the tiny bone 00:47
9. right behind you 00:21
10. sad little scratchy thing 00:32

all music and what not by andrew salvner except for:
- the reversed drums on track 2 are from plex auchta
- track 4 is a cover of a riff from a street fighter video game
- track 6 uses a reversed portion of a taxihome song

@plex-auchta
www.streetfighter.com
@taxihome

* oboe is keyboard
** flute is keyboard
*** 5:05 if you're gonna be a dick about it

short stuff

street fighter theme for bass guitar, oboe* and flute**

It Is What It Is

"Oscillations in Green" is a hypnotic soundscape that pulses with life, blending jazz, classical, and electronica into a seamless journey through the Sierra Juárez. Anchored by a thumping kick and guitar-forward melodies, it evokes the swaying pines and mountain breezes of Capulálpam de Méndez. This track is an ode to the vibrant connection between sound and nature, where every note feels like a breath of fresh air amid the timeless rhythms of the forest.

Oscillations in Green

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)

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

a sweet afternoon at the old fashioned dream carnival by the sea

sincerely

ANATOLIA - ΑΝΑΤΟΛΙΑ

Cast of characters:
Tea R. Sea @tea_are_sea -- Terry – Synthesizers, beats, composition
Llanpsych–@llanpsych –Tez– Fender Stratocaster electric guitar
TexMex Shaman–@texmex-shaman –Stephen– Tom Anderson Top T Classic
 electric wah guitar, mix, and production
J.J. Terrell-- @j-j-terrell—JJ-- Yamaha Genos 2 electric piano, tambourine, and triangle
K2 and the Three [and the Four] -- @k2andthe3, @k2-kara –Ken–drums
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1– Custom five-string fretless bass

This song started as a basic, yet melodically very strong composition by Terry involving him playing a synthesizer over a beat he created. He first shared it with Stephen, as they are regular collaborators in their project, Texas Tea, which are worth checking out on both of their pages, as well. Stephen then turned it over the the Eclectic Collective to work our magic on it.
  Josh was first up to the plate with this one, adding his deep, five string fretless bass to Terry's rudimentary beat. Ken was next up, however, adding the driving drum beat you hear, for which he used Terry's beat as a template and augmented a full kit sound to it. Stephen followed Ken, adding his striking wah guitar part to the whole thing. Tez was up soon after with his searing guitar soloing towards the end. Last, but certainly not least, JJ added the soulful electric piano you hear giving it a funk throughout, as well as the tambourine and the cool triange dings. 
  Now that it was in the bag, we decided to ask Stephen to produce and mix it for us, which he did in his typical expert fashion, as well as the doing the mastering, too.
  This is our holiday offering to all our fans, friends, colleagues, and peers. While it's not particularly a holiday song, it's a good display of where we are musically, and shows some of the flavor we want to add in the new year. We hope you enjoy listening to this as much as we enjoyed creating it. Happy holidays to you, and many happy returns!

Tree Tops (Eclectic Collective featuring Tea R. Sea)

Music: Joachim Krömker
Guitars & Synth: Joachim Krömker
Vocals: xian3
Editorial work on Lyrics: xian3
Words by Theodor W. Adorno (1903-1969) in „Philosophy of new music“, 1949
Translation mainly by machine
Cover: AI generated on Dec.31st 2024 at 10:30

Behind The Dam

“The person 
who allows oneself 
to be exuded (poured out)
in weeping 
and a music 
which is no longer like it 
in anything, (in anything)

at the same time 
allows the stream 
of what is not itself 
to flow back 
into it, 
what is not itself 

and what was dammed up 

behind the dam 
of the world of things.”  	

Behind the dam
Behind the dam
Behind the dam

Behind The Dam (wt Art.Silence)

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

noxpox - Why Are They Afraid Of Freedom?

Original
Lyrics & vocals by me
Music made in Garageband

A simle song with simple music and lyrics :)
This time I added some echo to my voice, I thought it fits the song :)

Lyrics:

All the lines in your face
Tells a story
I embrace..

All the marks on your hands
Worked so hard
I embrace....

All the blisters under your feet
Walked so far
I embrace...

All the scars on your arms
Fought so hard
I embrace...

All the burdens on your chest
Carried on so much
I embrace...

All the pain in your heart
Felt so strongly
I embrace...

All the words from your mouth
Full of wisdom
I embrace...

All you have, all you are
All of you
I embrace...

I Embrace You  (Original )

Bit of a silly Jam with the Noodles. Produced by Cookie Jay

Tiger Feet (cover)

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

Done For The Day

instances and happenstance

Heavy Punk Rock 'n' Roll band turns into Synthwave nowadays! Brand NEW album "Ultraviolet Cosmos" available NOW!

Hi, I’m Kelly.
Thanks for checking out my songs!

I started playing the piano when I was five years old.   I also play some accordion and harp, and I am hoping to improve my guitar playing.   

What you hear here are 250+ of my original keyboard based compositions, mostly written in my spare time outside of work between 2022 and now.   

I like to add in layers and nuances and extra tracks.  I’d like to get better at midi editing and composing and making my own drum tracks.   I’m an imperfectionist and incorrigible publisher of songs with errors in them.  

My main keyboard at the moment is a Nord Stage 4 88 key instrument of my dreams; and I’m still learning and experimenting with its features and capabilities.   

I made some really cool iridescent and black high quality vinyl sevenmiddlenames stickers: sometimes I send them in the mail (for free!) to kind repeat listeners.  If you’ve read this far, perhaps you’re one of them.   The honor of anyone hearing and enjoying my work in a world of so many competing demands for attention is motivating and inspiring: thank you.   

I'd love some feedback.

My seven middle names  (six of which I made up and gave to myself when I was 15) are for my true friends to know.

sincerely

sevenmiddlenames

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