An old GarageBand track from April 2023, never released, and just updated that starts off chill like the original — but then I felt like flying 🛫 So after 58 seconds, Flight Plan takes off to 124 bpm 💃

70 / 124 bpm
…………………….
DAW: Apple Logic Pro X
MIDI: Akai Professional Keyboard
E-INSTRUMENTS:
Concert Grand piano
Boesendorfer Grand Piano
SoCal Ballad Piano
Ambient Lead
Robot Talk
Buzzy Pluck synth 
Acoustic Guitar Harmonics 
Fingerstyle Electric Bass
Deep Round Synth Bass
Minimal Techno Pattern
Momentum synth 
Ghosts synth 
Focus synth 

E-DRUM KITS:
Latin Kit
African Kit 
Studio Brush Kit 
Acoustic Bump
Drum ‘N Bass Remix 
Trance Remix 
Hard Tech Remix Dirty
Trip Hop Remix 

VOCAL AUDIO — “You are clear for takeoff” and “You are a go” — 
recorded live on April Fools’ Day 2025

COVER ART is a composite using AI-generated images created by the DaVinci app and then designed in Photoshop.
…………………….

.

Flight Plan

"A Love Like No Other"

Recollections of flowing memories from when you entered my life
Your long black flowing hair & those beckoning eyes that still call me
It was obvious that we were never through which is why I returned
And in this world, who could ever say they knew of romance like this?
A Love Like No Other

Am deeply sorry for the pain I caused from an addiction that destroyed me
You were always the one & I struggled to cope with all I could not say
As time slowly passes by, I know in my heart you will be back in my arms one day
A Love Like No Other, a girl that gave me a reason to smile
A Love Like No Other, the connection of two souls that become one

Shane Beck (The Last American Poet)

1 - A Love Like No Other - Shane Beck

7th piece in a series of experiments to try other approaches:
'How it was sometimes, back then' 
• Guitar, bass, strings/keys, art: Ax. W. •
You're welcome to listen if you like, if you can.

„What have future generations ever done for us?“ (Groucho Marx)

https://soundcloud.com/axelweis/sets/future-collection

more

Future VII: How it was sometimes, back then

Live Reflexion#031

https://soundcloud.com/plex-auchta - bass guitar and drums
lil' spaceman - beatbox and vocals

susie's got an uzi

Monster’s Love

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. 2

Nova

voici une musique que j'ai composé en 2006 qui n'avait pas de texte à l'époque, j'ai écrit ce texte en portugais dernièrement et l'ai proposé à Julien Apelian qui avec son immense talent a fait les claviers et refait les batteries et percussions ainsi que l'arrangement, mastering.

paroles, voix et musiques : Steph Ouna
Voix : Lena https://soundcloud.com/user-262019520
Claviers, percussions et batteries, arrangement, mastering : Julien Apelian https://soundcloud.com/audio-colors

Uma mistura de culturas
Sonho com todos os países
Todas as linguas
está no meu coração
Encha-nos com canções e alegria
Através da força e da diversidade
A música nos leva a outro lugar
Um planeta sem barreiras

Refrain :
Se precisa de tempo
Quer acreditar
Precisa de esperança
Deus nos escute
Somos feitos de po
Sem fronteiras imigrantchis

O mundo é enorme, Deus o faz grande
Toda a riqueza eterna que ele nos deu
Por prazer e partilla e felicidade
E nunca conhecer o fim
Um milhão de estrelas na via láctea
O sol, o mar, o céu, os sonhos

en français

Un mélange de cultures
Je rêve de tous les pays
Toutes les langues
c'est dans mon coeur
Remplis-nous de chants et de joie
Par la force et la diversité
La musique nous emmène ailleurs
Une planète sans barrières

Refrain :
Si tu as besoin de temps
Je veux croire
Besoin d'espoir
Dieu nous entend
Nous sommes faits de poussière
Pas de frontières pour les immigrants

Le monde est immense, Dieu le rend grand
Il nous a donné toute la richesse éternelle
Pour le plaisir, le partage et le bonheur
Et ne connaît jamais la fin
Un million d'étoiles dans la voie lactée
Le soleil, la mer, le ciel, les rêves

Nova

music: mike brosco
image: suzanne rinehart / mike brosco

Downturn

This song is actually more of a poem. But I only realized that when I tried to set the text to music after I had written it. 
"I count on you" is a song written as a heartfelt thank-you to the quiet companions in our lives — those who stand by us when times get tough. 
Sometimes, these are the people who understand us without needing many words. Sometimes, they are the loyal, four-legged friends who remain by our side through the years. And sometimes, it’s a spiritual presence that carries us through our darkest moments.

This song is about that steady, silent presence — the comforting feeling of not being alone. It reminds us how much strength can be found simply in being there for one another. Some call it friendship, others call it love — some believe it is God. Ultimately, it’s about connection, trust, and the quiet certainty: I can count on you.

A heartfelt thank-you to Andreas and Colter, who deeply inspired me in the creation of this song.

It would mean a lot to me if this song finds a place in your heart and uplifts you when you listen.



I count on you

When everything inside goes quiet,
and I don't know what to do,
when every step feels heavy,
somehow – there’s you.
You never asked for answers,
you just stood there by my side.
In a time that felt so broken,
you were my piece of light.

I count on you 
when the fire’s burning low.
When I feel like fading,
you’re the one who still knows.
I count on you –
not 'cause you're loud or strong,
but 'cause you stay,
when everything feels wrong.

You held my silence gently,
carried every flaw I had.
You saw the parts I couldn’t show,
and never said it’s bad.
You never needed big ideas,
you just showed up as you are.
And in the middle of the night,
you were my northern star.

I count on you 
when hope has gone to hide.
When the world gets smaller,
you still stay by my side.
I count on you 
no questions, no disguise.
You’re the quiet truth
in a world of little lies.

And if the day should ever come
when you can’t hold it all alone –
I’ll be the one who holds you back,
like you have always done.

I count on you 
And you can lean on me
We carry what the other can´t
And set each other free
I count on you 
and hope you feel it too.
Through every broken piece,
I’ve found a friend in you.


Lyrics/Vocals/Music: Axel Menningen

I Count On You

Well’s track Glycerine with Llanpsych guitar

GLYCERINE - with WELL

Making music, mainly with guitar. In the past (70s/80s) a lot, now from time to time. My paintings correspond to the music. You are welcome to listen and to enjoy if you like, if you can. Peace, Axel

Future VII: How it was sometimes, back then

Axel Weiß