I love music that takes me out of my body. This does. Really nice and loving!

it's a second "arrival" too.. Great piece echo... 👍🙏

Beautiful piece 😍 🙏 🍀 🎶 🎧 

I love the strings right here <3 beautifully crafted sound <3

it's beautiful, I also watched your video 😊

Watch on YouTube: https://www.youtube.com/watch?v=HJ-jzovhn2M

Uploaded with AudioShare app - http://kymatica.com/audioshare

Spotify

Arrival (with video)

Lavande De Provence

This composition was created spontaneously. I composed an opening piano melody. The title immediately appeared in my head. I realized that it would be a very emotional composition. And then in two days everything else was composed.

Crossroads

FIREFLIES

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. 

---

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

Cranes

Music for String Quintet

1. Air,  fragile as light mist from the sea

2. Moon mirror, an inner mystical dialogue

3. To the sea. The sea as a refuge, the sea as a bearer and the sea as a healer

4. Chi.  like waves interacting. 

Uppsala chamber soloists

Notes from the Sea

The Wonders Of Marlivor

Music, lyrics and vocals by Irina
Painting by Irina, canvas 10 x 10 cm

Featured: 
Fresh On The Net: https://freshonthenet.co.uk/2021/01/faves391
BBC Introducing: https://bbc.in/3j5zovS

The painting shows my hometown, the city of Tsukuba, Ibaraki prefecture, Japan, the place that I will forever hold dear in my heart.

I know you must be busy
And life cannot be easy
To find the energy to go on

The night unfurls its splendor
My thoughts are sweet and tender
Hoping we can chat when you logon

君に会いたい
声を聞きたいです
少しでも会えたら
嬉しい

どこ に います か
隠れないで
帰って きます か
My heart is online


The night turns into morning
Melancholy is boring
WiFi is dead, our networks misaligned

I overthink, I stutter
Under my breath I mutter
If only I could see what's on your mind

君に会いたい
声を聞きたいです
少しでも会えたら
嬉しい

どこ に います か
隠れないで
帰って きます か
My heart is online

------------------------

chorus:

I want to see you
I want to hear your voice
Would be happy to meet even just for a bit

Where are you
Don't hide
Will you come back?
My heart is online

My Heart Is Online

Piano & Violin Concerto No.1 - Collaboration with Rosin Dust (Violin Solo)
Music, orchestration and production by Syrel https://soundcloud.com/user-461764443
Violin Solo by Rosin Dust (Tatiana Makarova) https://soundcloud.com/rosindust
Picture of Ingo Maurer Bibibibi lamp by Syrel for the Decormag Magazine in 1985


Thank you so much Tatiana for this inspiring performance.

Syrel Classical Work

Piano & Violin Concerto No.1 - Collaboration with Rosin Dust (Violin Solo)

This piece is based on a theme I wrote many years ago.   Thank you for listening and I hope you enjoy.

Solitary Oaks

Blue Sinfonia 2 © Debra Buesking [revision of Blue Sinfonia]
Piano: Steinway 1951 --> Synthogy Ivory II American Concert D
Based on Bach's Sinfonia no. 11 BWV 797
A far cry from Mr. Bach's original but the bones are all there.

Blue Sinfonia 2

Electronic, Ambient, Space Music, Chill Out, Modern Classical, Soundtrack, Piano Solo.

Surfing the waves across genres

Arrival (with video)

echosonica

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