Built with the String section from Spitfire Audio's BBCSO Professional

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Threads Of Remembrances

Self-taught amateur piano player and composer.
"...più di un brano musicale m'è caro, eppure in esso, di rado cerco lui, cerco me stesso" (Rivisitazione di una citazione di S.Pellico)
Per mancanza di spazio le composizioni continuano nell'altro profilo soundcloud: Tomaso Deiana_2

Please visit Bandcamp link for music and sfx collections.

https://soundfxpro.bandcamp.com

To take 12 notes and evoke emotion from them is all I want to do.
Happy to work on your project's music needs.
Connect with me at mitch.krebs@gmail.com

Please no offers for more followers, listeners or other advertising. I don't pay for advertising!


I am drawn to folk, blues, soft rock, and country music, new and old. I love songs that tell a story, especially the Irish, English, and Scottish ballads of long ago because their stories are often timeless, and most everyone at any time can relate to. 
 
I also am a pastel painter and find being able to express universal emotions through my art, as well as writing lyrics and putting them to music that I can sing and play on my guitar or ukelele so rewarding and comforting.

Memories of people, places, and events throughout my life influence the songs I write.





I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

My Method of Composing and Producing
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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.

UK based violinist and composer of modern classical, folk, ambient and filmic sounds with background experience playing in classical orchestras as well as performing and recording with contemporary folk/rock bands and as a soloist. 
I have written and recorded soundtracks for several independent films including  ‘Solitude’ and ‘Impulse’ and have co-written soundtracks for the 2024 Charles Netto film 'The Lily and the Scorpion' composed and performed the string parts for the Victoria pilot film 'The edge of the World' and on the Mariah Braun documentary 'Able' working alongside and guided by Canadian producer and composer Patrick Zelinski.
My music has also been used to accompany an artists work whilst on show at an exhibition
I regularly record as a session musician for other artists music and film media. This has included recording for 'Active Light Sound' on The EP ‘Dystopia’ and several singles such as 'Khala' with Amy Wallace and 'Lifeline' For Sadie-Lee
 I have also written and recorded several pieces with former San Francisco 49er and award nominated composer Eric Heitmann. Our track 'Ashes that Remain' is regularly used by TikTok and Youtube content creators. 
Most recently I have written and recorded with The German pianist and composer Juliano on the track 'Solace'

Music is humanity’s attempt to capture and share emotion at its purest.

Threads Of Remembrances

David Sinclair