Mellow Transient BUS....Fantastic Lofi....Much Love! Amazing b-j

One nation, one destiny..I do not know that we will have one destiny in the face of these circumstances, but I hope that this war will end and this nightmare will end
I pray for all the Ukrainian people, may the twilight of mercy enter the hearts of the leaders, and that they do not walk the path of death
My prayers from the heart When I wrote this music, my eyes were teary at this situation we have become
My friends all over the world stop this pain in their own way

please see the video link from our friend, please see his work 
https://youtu.be/thDCCWUsmuY

One Nation One Destiny

One Nation One Destiny(can be downloaded)video in link

Asteroid

Hebe

The Stranger

Strange (completed version)

Strange (Completed Version)

Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now! Jump Around Now!

Jump Around Now! - Instrumental

Street Corner At Night

Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival Mad Carnival

Mad Carnival - Instrumental

Darkness

Last Cigarette

AGNEL for 12-voiced choir, objects, choirboy und electronics (2013)

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. 

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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.
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Thanks to Alfred Leung for the original photo on unsplash.com:
https://unsplash.com/photos/FmnZFoRdDYw

Cranes

Kraniche (Cranes)

“The gypsies believe the bear to be a brother to man because he has the same body beneath his hide, because he drinks beer, because he enjoys music and because he likes to dance.” ― Ernest Hemingway

Bus

bear_jam

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Grooveclowd

Baji

Edward Cortes composer

Rusty Davis

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