#ComposersNewMusicPlaylist
https://ioniate.com/artist/scnmp120

The Composer's New Music Playlist is dedicated to the growth and development of music creators. Composers highlighted in the playlist have posted their music for others to discover, and actively seek/provide support and constructive feedback for the music posted. 

Members of our IONIATE New Music groups create original works in many styles including: 

 - Sound Track 
 - Battle Music
 - Orchestral
 - Symphonic
 - Epic Trailer
 - Solo Piano
 - Dream Scene
 - Avante Garde
 - New Music

Thank you for joining us and for supporting these new Composers!

LISTEN - COMMENT - LIKE - SUBSCRIBE.

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If you are music creator you may submit your music for IONIATE playlist consideration in two ways. 

Either via the

"PLAYLIST SUBMISSION TOOL"
http://bit.ly/IONIATE-Playlist-Submission

or by joining one of our dedicated "New Music" groups.

"NEW ON YOUTUBE” 
https://www.facebook.com/groups/181521019453661

"NEW ON SOUNDCLOUD"
https://www.facebook.com/groups/IONIATEGROUPSNewOnSoundCloud/

"NEW ON SPOTIFY"
https://www.facebook.com/groups/IONIATEGROUPSNewOnSpotify/


===========================

Thanks to all the amazing composers for creating such great music. 

This week's playlist features 

Albert Lo
  - http://bit.ly/SC-AlbertLo

Alec Tunks
  - http://bit.ly/2XsaHxO

Annie Smart
  - http://bit.ly/300b0oT

Austin Kleyn
  - http://bit.ly/SC-AustinKleyn

Caroline-Jayne Gleave
  - http://bit.ly/SC-CarolineJayneGleave

chicago_word_brigade
  - https://bit.ly/37vItGK

Classical Glass

Clay LaHatte
  - http://bit.ly/2Z4spay

David Olofson
  - http://bit.ly/2KM6XEV

Florent Ainardi
  - http://bit.ly/2Jf5pT2

Gary Courtland-Miles
  - https://bit.ly/3gV8S6l

Heidi Marie Arapa
  - https://bit.ly/2vMnUJn

Jamie Rhind
  - http://bit.ly/31wdNDf

Jérémie Vinet
  - http://bit.ly/SC-JérémieVinet

Jess Henderson 
  - http://bit.ly/2YZBQNl

Jonathan Silas Bull
  - http://bit.ly/SC-JonathanSilasBull

Jostein Kauserud
  - http://bit.ly/2KPVljV

Karen Biehl
  - http://bit.ly/2SSbgl3

Kirill Belousov
  - https://bit.ly/2UJzPRH

Klaus Ferretti
  - http://bit.ly/SC-KlausFerretti

Michael A Aitchison
  - https://bit.ly/3hNm4uf

Mike Malstrom
  - http://bit.ly/SC-MikeMalstrom

Moving Classics - New Piano Music

Nathaniel Ehrnman
  - http://bit.ly/2YWZ7ek

Nicklas Löfstrand
  - http://bit.ly/2UXylSC

oddrun eikli
  - http://bit.ly/2Z28Hgk

Ottfried Mietzke / Composer
  - http://bit.ly/2Il1tR0

Piotr Wojtowicz
  - http://bit.ly/2S8Ibhe

Rick Riccled
  - http://bit.ly/SC-RickRiccled

Ron Verboom
  - https://bit.ly/2UDy9sr

Ronald Roumanis
  - http://bit.ly/SC-RonaldRoumanis

Sharon Gabrieli
  - http://bit.ly/SC-SharonGabrieli

Timo Pääkkönen
  - http://bit.ly/2s5DOMw

Victor Birkan
  - https://ioniate.com/artist/scvictorbirkan

Victor Frost
  - http://bit.ly/SC-VictorFrost

William Mendelbaum
  - https://bit.ly/2HDPrPD


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#IONIATE #ComposersNewMusicPlaylist #Composers

The Composer's New Music Playlist

Gaming music Final Fantasy X-2
Song: Kuon Hikari To Nami No Kioku / Memories of Waves and Light
Composed and arranged by Takahito Eguchi and Noriko Matsueda.
In a version from Debra Buesking and Oddrun Eikli.
Poem: by Emily Brontë (30 July 1818 – 19 December 1848)
Piano and Cover design: Debra Bueskinghttps://soundcloud.com/debra_buesking
Vocal: Oddrun Eikli

Love and Friendship
BY EMILY BRONTË
Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?

The wild rose-briar is sweet in spring,
Its summer blossoms scent the air;
Yet wait till winter comes again
And who will call the wild-briar fair?

Then scorn the silly rose-wreath now
And deck thee with the holly’s sheen,
That when December blights thy brow
He still may leave thy garland green.

Love and Friendship. Debra Buesking and Oddrun Eikli.

A unique blend of choir and bowed crystal glasses

Sketches

Nomentum

The view inside is not always what is expected.

Art isn't always pretty, but when done honestly, it is a true reflection of the artist and their views.

A Little Bit O' That

Heavy drums meet smooth synthetic pads to create a driving sonic soundscape

Chrysalis

Sampled and detuned churchbells provide the sonic textures for this exploration of abstract ambience

CHURCHbELLS

Ethnic percussion with a health dose of hammered dulcimer create the spirited mood.

Spirit Dance

Harp and percussion. The blending of gypsum and gold

Gypsum and Gold

When rock solid drumming meets the expressive melodies of an electro-acoustic progressive vibraphonist you get pressure washed.

Pressure Washed

Minutes of insight
I invite you to listen to my piano improvisation "Musical Moment №6".
The sheet music of some of my compositions can be downloaded from my website https://pianoimprovictor.com/ Some new works are available on  https://www.sheetmusicplus.com/publishers/victor-birkan-sheet-music/3028943?isPLP=1
Find all my music here: https://linktr.ee/victorbirkan
https://youtu.be/EwX-Duaj2V8

Musical Moment №6 - Improvised Piano Piece

Bieden' My Time

Tension music for Soprano voice, percussion snd plucked cello. 

Hock Blocked

A few years back I became very disappointed with social media. I took a long break and after much soul searching found that I could participate  in very select groups again.

Reflective Rift is an autobiographical account of my social media journey. told with music.

For those that enjoy percussion, minimalistic harmony, and cinematic textures, I think you'll enjoy the piece.

Reflective Rift

In the realm of art music, innovation and experimentation are the lifeblood that propels the genre forward. Tapestry d'Orel is a testament to the power of that experimentation.

In this composition, the ebow (often associated with the electric guitar) ventures into uncharted territory as it delicately interacts with the strings of a grand piano to conjure up haunting, sustained sounds that send shivers down one's spine.

Tapestry d'Orel

A hybrid electro-acoustic piece for percussion ensemble.



Terminal Memory

https://www.instagram.com/arapa_music/

Presenting my latest electronic music production 

This track will blow your mind.... well I hope so lol

Why is this track called "FIRE EATER"
I have used a Synthesiser called this

Produced in the ARAPA Music Studio
composed by
Heidi-Marie Arapa
Sydney - Australia

FIRE EATER

Listen to the Playlist: soundcloud.com/bruce-klepper-1/sets/the-little-mermaid-music-for
The Little Mermaid – The Prince and the Little Mermaid
Ocotber 2023
Duration: 2:30
Painting by Marie-Jose Payannet
Music for Danse Etoile Ballet (www.danseetoile.org) who will be performing The Little Mermaid Ballet January 2024 in Colorado.
This piece tells the story of the unrequited love of the little mermaid for the prince, who never realized that the little mermaid was the one who saved his life from the shipwreck. 
For piano, cello, flute, bells, sound effects and percussion.

The Little Mermaid - The Prince And The Little Mermaid

When is blackmail born? 

When a person commits the blackmailable act? 

Or is it when someone attempts to exploit that action?


This piece for drumset and piano explores this question, and the many emotions that rush through a blackmailed  person.

Please drop a comment with your answer to question!

The Birth Of Blackmail

Welcome to an auditory feast of contrasting flavors! 'Peanut Butter and Hubris' is a musical journey that blends whimsical melodies with audacious rhythms, embodying the essence of playful arrogance. 

This composition dances between sweet harmonies reminiscent of indulgent peanut butter and the bold, assertive tones representing the audacity of hubris. 

Join us as we delve into this musical exploration that juxtaposes the deliciously harmonious with the daringly bold

117 BPM: F minor - 

MOODS
Mellow (80), Chill (70), Sad (60), Beautiful (50), Sexy (40)

INSTRUMENTS
Synth, Drums, Strings, Piano, Harp

===========
Comparing peanut butter to hubris in the context of music is an interesting challenge. 

Peanut butter, a versatile spread loved by many, can be likened to the foundational elements in the piece. It is represented in the basic, essential components of rhythm, melody, and harmony that form the backbone of the music. 

On the other hand, hubris, characterized by excessive pride or self-confidence, can be equated to a person's  overestimation of their own abilities or importance. It might reflect arrogance that leads a person to take action solely for their own gratification, neglecting the others and losing touch with humility and destroying their authenticity.

Peanut Butter And Hubris

The Singular If

Composed specifically for Modern Dance Choreographers, Airidea's Journal is a wonderful blend of percussion and ambient electronic music.

Taiko drums tell the story of a conflicted Airidea, who with one entry into her journal, may change her world however she desires.

Sketches 2023

Airidea's Journal

Dedicated to all the brave men and women of our United States Armed Forces.


  Donum quod das 
  (The gift you give)

  Vita pro libero
  (Life for the free)

  Impleta promissio tueri
  (A fullfilled promise to protect)

  Quieti in aeternum
  (Rest forever)


100% of all streaming revenue for all versions of "Uncommon Man" is donated to charities providing services to our homeless veterans.

-----

A huge Thank You goes out to the team at DreamTonics. 

Without your amazing software there would not have been a realization of this iteration of "Uncommon Man"

Certainly not all AI is inhumane.

UNCOMMON MAN (Quieti in Aeternum)

What is hidden behind the smile?

An exploration of Taiko and Vocals



The Smile

Basic Instincts

Sketches 2022

Die Elated

Gaudeamu had once been a radiant angel of song, her voice blending harmoniously with the divine choirs. But in a moment of pride, she believed her voice could rival the Creator’s, and for this, she was cast down to earth. Stripped of her wings, Gaudeamu was given a task: to teach the creatures of the deep—the whales—to sing and praise God.

Standing at the ocean’s edge, Gaudeamu marveled at the whales, their majesty hidden in the silence of the deep. Yet these ancient creatures had no song to offer the heavens. Her mission was clear, but her voice, once so powerful, now trembled with uncertainty.

She approached the whales gently, singing the first notes of creation, hoping to spark something within them. At first, their responses were rough, their calls lacking the harmony of her heavenly melodies. But Gaudeamu knew this task would take time. She began to listen to their natural sounds, finding in them the seeds of divine harmony.

The First Songs
In the early years, Gaudeamu sang with the whales in the depths, mingling her voice with theirs, drawing them closer to the melodies of heaven. Their songs, once random, grew more structured under her guidance. Slowly, they began to echo her praises to the Creator, filling the oceans with their newfound hymns.

Her heart soared as the whales learned to praise. Their calls became a chorus that echoed through the seas, a prayer rising from the waters. But Gaudeamu’s task was far from complete. She sought to teach them a deeper, more sacred form of worship: Gregorian chant.

Teaching Gregorian Chant
Centuries passed as Gaudeamu continued her work. Patiently, she introduced the whales to the simple yet profound beauty of Gregorian chant. At first, she taught them simple phrases, repeating them until the whales’ deep, resonant voices could mimic the sacred tones. Gradually, the chants became more intricate, weaving into the very fabric of the ocean’s depths.

The Gregorian melodies blended perfectly with the whales' natural calls, flowing with the rhythm of the tides. Their chants were not just songs; they became acts of devotion, each note carrying the weight of reverence and awe.

Gaudeamu’s heart swelled with hope as the whales’ songs rose to the heavens. Their voices, once silent, now carried the ancient chants that had once filled the grand cathedrals of the world. Their praise reached beyond the seas, and Gaudeamu felt the Creator’s presence in every note.

Redemption
One night, as Gaudeamu stood on the shore, listening to the whales’ chants rolling in with the waves, a brilliant light appeared in the sky. It was the Creator, descending upon the waters.

"You have done well, Gaudeamu," the Creator’s voice said. "The whales sing My praises, and in teaching them, you have redeemed yourself."

Gaudeamu knelt in awe, her heart overflowing with joy. As she did, her wings, once stripped of their glory, began to shimmer once again with the light of heaven. Her task was complete; she was no longer fallen.

But as Gaudeamu gazed at the ocean, she felt a deep connection to the creatures she had taught. The whales had become her companions, their voices a testament to the power of song. She did not wish to leave them behind.

Sensing her heart, the Creator smiled. "You may stay with them, Gaudeamu, and sing for as long as you desire."

Epilogue
And so, Gaudeamu remained by the sea, her voice forever harmonizing with the whales as they sang their Gregorian chants to the heavens. Their songs, now eternal, became a testament to redemption, echoing through the deep. If you listen closely to the whales' songs, you might still hear the echoes of an angel’s voice, guiding them in praise to this very day.

Gaudeamu

I've had the plan to write a lullaby for many years. After missing the timing for my own kids the idea has been a "that would be nice to do" thought ...until recently when our backyard deck came into the story.

For those that don't know, our deck overlooks our community and has just enough elevation so that we see over many of the rooftops and trees and the surrounding hills make a wonderful evening setting. There have been many evenings watching the sunset with Dee and the family. 

Not only do we have an amazing view, we also have one of the most incredible auditory experiences as well. From where we are at we can hear much of the neighborhood sounds, and more often than not, the sounds of the Norman Creek kids playing.  The sounds of kids playing together outside is something that was so foreign after so many years in California, it's been wonderful to experience it from the deck.

So what does all this have to do with a lullaby? 

For years I've known that the lullaby would be based upon the love, joy, and safety that Dee showed our kids while growing up. I think those things are the cornerstones for kids growing up strong and confident. The sounds of the Norman Creek kids, and the sheer joy of sitting and watching amazing sunsets with Dee, reignited the thoughts of kids being put to bed by their mothers. With the memories of Dee with our kids, and the thoughts of the Norman Creek moms with their kids in my head, the words and music of "As You Sleep" flowed out a few weekends ago. 

Although my writing partner Chris Meola and I are not quite done with the final instrument arrangements, I wanted to share what we have with you as we work to dot the I's and cross the T's. 

As always, many thanks to Dee for being the inspiration and indulging my creative whims and I'd also like to dedicate this one to the Kids and Moms of Norman Creek. Thanks for sharing your joy with the neighborhood!

As You Sleep (DEMO - OCT 2024)

The twinkling lights of Christmas trees, the rhythmic chaos of holiday preparations, and the warmth of familiarity that settles in after the season’s initial rush—this is the essence of my latest composition, *Lights Twinkle*. As a Christmas music piece crafted for voice, percussion ensemble, taiko drums, and harp, *Lights Twinkle* offers a unique auditory experience that blends tradition with innovation.

At its core, *Lights Twinkle* is a story told through sound and haikus. These succinct and rhythmic poetic forms perfectly complement my polyrhythmic compositional approach. Their structured rhythm provides a steady foundation amidst the layered complexity of the music. Moreover, I found inspiration in exploring a Japanese-influenced take on Christmas traditions, pairing the poetic brevity of haikus with the resonant power of taiko drums.

The harp takes center stage alongside the percussion ensemble, creating a sonic tapestry that is both grounded and ethereal. I’ve always loved how the harp blends with percussion, particularly the marimba. The harp’s dreamy quality elevates the piece, while percussion keeps it rooted, primal, and rhythmic—a delicate interplay of textures. I often think of the harp as a "pretty percussion instrument," and in *Lights Twinkle*, it shines in that role.

One magical moment during the composition process was when I accidentally copy-pasted the taiko drum pulse onto the marimba track. What could have been a mistake became a serendipitous breakthrough: the marimba’s introduction brought a fresh yet comfortably memorable rhythm to the piece. Another unforgettable moment was adding a "Carol of the Bells" rhythmic motif to the finale, tying the music to timeless Christmas emotions. Every time I hear that section, it feels like reconnecting with a cherished memory.

Polyrhythms naturally introduce complexity, but my goal was to make them inviting, not overwhelming. To achieve this, I kept the orchestration focused: no more than three rhythmic ideas sound simultaneously. Carefully placed accents reinforce the base pulse, anchoring the listener and tying the textures together. These choices ensure that *Lights Twinkle* feels intricate yet approachable, inviting repeated listens to fully appreciate its layers.

The haiku *“Light’s twinkle, on evergreen”* inspired the entire piece. It captures the pure joy of a Christmas tree, a universal symbol of the season. Through the music, I hope to evoke the hustle and bustle of holiday preparations, the unpredictability of new traditions, and the eventual comfort and warmth they bring. By the third listen, I believe audiences will feel at home in this soundscape, appreciating its connection to the season’s rhythms and emotions.

Ultimately, *Lights Twinkle* is my gift to listeners—a fresh yet familiar experience of Christmas. I hope it becomes part of your holiday traditions, offering warmth, wonder, and a little rhythmic sparkle to the season.

--------

Snow falls gently down
Lights twinkle on evergreen 
Silent night is here 

Candles softly glow 
Childrens laughter fills the air 
Christmas warmth surrounds 

Ornaments  shine bright 
Memories hung on each branch 
Love wraps every gift 

Bells ring in the cold 
Voices sing of joy and peace 
Christmas time is near 

Snow falls gently down 
Carols sung by fire light 
Peace on earth tonight 

Angels in the sky 
Guideing light on Christmas 
Hope reborn again 

Songs of joy resound 
Not for presents but for peace 
A gift that endures

Beyond all the bows
A humble star lights the way 
Guideing hearts to Joy

(lights twinkle
on evergreen 
childrens laughter 
fills the air 
carols sung 
by firelight 
peace desends 
on this night 
candle glow 
memories 
gently hung 
on each branch 
by firelight 
peace on earth 
tonight 
angel 
snowfall )

Snow falls gently down 
Lights twinkle on evergreen 
Christmas night is here

Lights Twinkle

Escapade

The Night Air
A Cinematic Music Theater Experience

Step into a sultry, golden-lit evening where romance and mystery intertwine in *The Night Air*. This cinematic music theater piece draws listeners into a richly textured soundscape of Taiko drums, ethereal synth pads, and hypnotic synth ostinatos, creating a visceral and evocative listening experience.

**The Inspiration**  
The journey of *The Night Air* began with a simple riff crafted on a mobile DAW, blossoming into a deeply cinematic and sensual piece. The lyric "the promise of the night air" emerged from a creative collaboration with ChatGPT, evolving into an exploration of love, mystery, and the electric possibilities of an evening. The theme is tied to the delicate and thrilling dance of romantic interludes, set against the enigmatic backdrop of the night.

**The Narrative**  
At its heart, *The Night Air* unfolds as a conversation between two voices—one male, one female. The dialogue plays out like a scene from a movie, capturing a pivotal, flirtatious moment. The male protagonist, rebounding from rejection after his boldest pickup line, hears the playful and enigmatic reply, “Then again…” from his counterpart. This tantalizing response shifts the mood instantly, reigniting hope and intrigue, and setting the tone for an evening full of playful tension and promise.

**Instrumentation and Texture**  
The music’s distinctive texture is a standout feature. The deep resonance of Taiko drums grounds the piece, lending it a cinematic gravitas, while the ethereal synth pads create an atmospheric backdrop. Layered atop this are shimmering synth ostinatos, adding rhythmic and melodic intrigue. Together, these elements create a soundscape that is at once sultry, contemplative, playful, and darkly mysterious.

**Visual Imagery**  
Imagine a warm summer night, the air thick with the scent of jasmine. The scene unfolds in an upscale, dimly lit restaurant or bar, bathed in golden light that reflects off polished surfaces. The visuals mirror the music’s sensuality and mystery, encapsulating the allure of the evening and the sparks between two characters on the cusp of something profound yet playful.

**For the Audience**  
Fans of Peter Gabriel, Kate Bush, and art music will find much to love in *The Night Air*. Its cinematic storytelling and textured sound are perfect for those who appreciate innovative and emotive music that bridges genres. This piece speaks to listeners who revel in the tension of love’s playful dance, the mystique of the evening, and the power of evocative soundscapes.

**Acknowledgments**  
A special thanks to Dreamtonics, Eclipsed Sounds, and The Strepito Group for their incredible work, which brought this vision to life. Their contributions have been instrumental in transforming these ideas into a fully realized musical experience.


**Hashtags**  
#CinematicTheater, #SultrySounds, #NightAirMystique, #ArtMusic, #TaikoDrums, #SensualMusic, #EveningMood, #GoldenGlow, #NewMusic, #AmbientMusic, #SynthScapes, 


---
As you say
there may be little more
to this conversation.
Little left to give, to gain.
No more flirtation

Then again...
I'll take a chance
and I'll change
circumstance

Find wonderland
When I touch
your outstretched hand

Your gaze, 
there's so much
I understand

Now is our chance (yes)
No more wasting time (yes)
We finally decide

Moving on we can share
the promise of the night air.

Change circumstance 
If you will
Take the chance

.... so we say

The Night Air

Changes - A Pop Rock Journey of Embracing the Unexpected

Sometimes, the best moments in life come from the changes we can’t control. Changes is a high-energy pop rock track that captures the beauty of embracing life’s unpredictable shifts. Built on four distinct hooks—an intricate dual guitar strumming groove and three vocal motifs—this song is all about letting go, moving forward, and discovering something amazing along the way.

🎸 The Story Behind Changes

This song was born from a live demo on Jacktrip, where I was showcasing my typical composing workflow. The foundation started with a layered acoustic guitar collage using the Ample Guitar plugin, setting the stage for the opening vocal line to naturally emerge. As the track took shape, an unexpected but magical moment happened—Solaria’s vocal scat, a spontaneous addition, became a defining element of the song.

At its core, Changes reflects the personal and creative growth that occurs when we surrender to the unknown. The rhythmic interplay of the two acoustic guitars represents the duality of change—sometimes harmonious, sometimes conflicting, but always pushing forward. The vocal hooks, carefully woven into the arrangement, act as guideposts through the emotional landscape of the track, echoing the ebb and flow of transformation.

Solara’s vocal scat wasn’t planned—it simply happened in the moment. This unfiltered expression perfectly embodied the essence of Changes: the beauty of spontaneity and the surprises that come when we trust the creative process. In that sense, Changes is more than just a song; it’s a testament to the way music, much like life, evolves beyond our expectations.

🌤 A Visual Journey

The music video for Changes brings its themes to life with "concrete abstract" imagery—clouds drifting in the wind, forming fleeting pictures in the sky, only to disappear and make way for new ones. This visual metaphor highlights the impermanence of moments and the joy found in experiencing them while they last. Just as the sky is constantly shifting, so too are we, and rather than resisting, we can choose to move with the change.

The color palette of the video reflects this free-spirited energy, incorporating warm, nostalgic hues that evoke a happy, flower-child feel. It’s a visual representation of the optimism and liberation that comes with embracing life's twists and turns.

🎶 For Fans Of:

If you love Fleetwood Mac, classic rock, or progressive rock vibes, you’ll feel right at home with Changes.

✨ How Should You Feel?

Energized. Uplifted. Ready to take on whatever comes next.

🔗 Check Out More Music:

🎵 SoundCloud: https://soundcloud.com/eric-schultheiss-ioniate📺 YouTube: https://www.youtube.com/@EricSchultheiss

📢 Join the Conversation:

Don’t be afraid of change. We can only get better by making a change. Let me know how Changes resonates with you in the comments!

🔥 Hashtags:

#PopRockVibes #FleetwoodMacStyle #EmbraceChange #FeelGoodMusic #GuitarGroove

Changes (Demo 20250218)

Breezy didn’t start with a melody or an idea. It started with rhythm—loud, physical, insistent.

It hit me after a storm. I was sitting on the deck, air still heavy, when a Taiko drum pattern arrived—fully formed. Not imagined. Not composed. It felt like the storm had left it behind.

The irony in the name Breezy is intentional. There’s nothing breezy about this piece. It opens with force and never politely asks for your attention. It surrounds. It shakes. It moves. This isn’t about weather—it is weather. But more importantly, it’s about how we move through the storms of life, internal and external.

Resistance is everywhere. Deadlines. Doubts. The ache to prove what we do matters. Breezy became my way of giving sound to that process—of facing pressure and pushing forward anyway.

⚡ A Piece Built Like a Storm
The structure reflects a storm system in three acts:

ACT I: The Hit – Taiko drums crash in. Distorted synths follow, not to sound like thunder, but to feel like it.

ACT II: The Eye – Things drop out. The space widens. But the pressure remains, like a false calm.

ACT III: The Return – The storm surges back. Louder. Tighter. You’ve been through it once—now you endure it with clarity.

The piece doesn’t resolve neatly. Because life doesn’t. It just keeps going. That was the point.

🔊 Sound That Fights Back
Everything in Breezy is designed to feel bigger than the listener:

Taiko Drums – Tuned for low resonance, layered for impact. They don’t just mark time—they are time, relentless and grounding.

Distorted Synths – Treated like weather systems—unpredictable, menacing, bent under pressure.

Reverb – A spatial tool, not just a mix choice. Early reverb is vast, later it contracts. It shapes how close or far the storm feels.

Silence – Composed, not passive. Used to build tension. A held breath before impact.

Density and Space – Frequencies shift like weather fronts. Some moments widen; others pull in like pressure zones.

These aren’t effects. They’re tools to simulate what it feels like to face down something you can’t control—and move through it anyway.

🎧 Who It’s For
Breezy is for people who need music that moves with purpose:

Choreographers wrestling with themes of tension and release

Filmmakers or editors looking for emotionally volatile texture

Percussionists who crave rhythm that hits deeper than timekeeping

Listeners ready to feel—not float

This isn’t background music. It grabs you. Holds you. Demands your focus.

🌩 A Final Reflection
Storms don’t just happen in nature. They show up in our lives—in doubt, noise, pressure. But sometimes, like that rhythm on the deck, something honest cuts through.

And when it does, we follow.

Breezy is my response to those moments. A piece not about resolution, but about resilience.

Thanks to Strepito for delivering this work with raw clarity. And to everyone who listens—I hope Breezy gives you something to hold onto the next time your own storm arrives.

🎧 Listen. Brace. Endure.

Breezy

What if every day held its own quiet celebration?
"This Grand Day" invites you into a soundscape where ambient textures, abstract poetry, and voice unite in a reverent exploration of daily wonder.

Crafted in the spirit of minimalism and calm inspiration, this piece began with a spontaneous spark: a poem, born while experimenting with abstract language. From that creative seed, a sonic landscape unfolded — one that mirrors the poetic cadence of speech in its melodic structure.

At the heart of This Grand Day is a unique compositional approach: the natural rhythm of spoken word drives the timing and flow of the melody. Rather than composing the instrumental lines first, the musical phrasing emerged organically from the syllabic tempo and emotional arc of the poem. This results in a seamless blend of lyrical meaning and musical motion — a sonic poetry reading wrapped in ambient texture.

A lush synthetic choir pad provides a soft, evolving harmonic foundation.

Tenor and soprano voices weave gentle melodic lines, creating a layered, vocal-forward texture.

The spoken word element is not ornamental — it's rhythmic, grounding, and central to the piece’s pulse.

The piece gently moves through a landscape of introspection and quiet joy. While there is celebration at its core, a subtle undercurrent of longing flows beneath — a wish for a world where each day holds beauty for all. This emotional duality invites deep listening and contemplation.


🎧 For Listeners Who Enjoy:

Experimental ambient vocal works

Minimalist or post-minimalist compositions

Meditative music with a lyrical or poetic element

Artists exploring the intersection of speech, melody, and texture

📣 Ideal For:

Vocalists exploring new formats

Lovers of atmospheric, reflective music

Poets and lyricists interested in musical interpretation of spoken language

Ambient and experimental music fans seeking layered, voice-driven pieces

✨ What Makes This Piece Stand Out:

An unconventional structure where spoken word dictates melody

Rich, immersive texture through minimal means

Emotional sincerity without overstatement

A rare fusion of abstract poetry and ambient music

Authentic and deeply personal — from concept to composition



Creating This Grand Day was more than a musical process — it was an emotional meditation. Blending spoken poetry with ambient textures allowed me to connect with the present moment in a new way, and I hope it offers the same reflective space for you.

This Grand Day

Home in Tennessee – A Personal Journey
“Always come home.”

I wrote this piece during a time when I was on the move constantly. 2024 was a year filled with airports, hotel rooms, unfamiliar cities, and long drives. Each trip had its purpose—some exciting, some exhausting—but no matter where I was, there was always a moment where I’d catch myself daydreaming about home.

Tennessee.
Not just the place, but the people.
The sounds. The stillness.
The reds of the trees in autumn.
My family’s laughter echoing through the kitchen.
That first breath of crisp Southern air after landing at the airport.

That’s what I missed. That’s what this piece is about.

The Song’s Story
Home in Tennessee is my attempt to put that feeling into music. I wanted to capture more than just nostalgia—I wanted to show the emotional arc of being away, and the overwhelming peace of finally returning.

It begins with a woman’s voice—she sets the stage. She sings about Tennessee like it’s a living, breathing character. Her lines are simple, warm, grounded—like someone describing a photo album to a loved one.

Then a male voice enters. His tone is different—quieter, distant. He’s not in Tennessee. He’s somewhere far off, missing what she’s describing. There’s a longing in his phrasing, a kind of aching restraint. That’s me, in all those hotel rooms, watching videos from home, listening to messages from friends, scrolling past family photos.

Then comes the bridge—and this is where everything changes.

The two voices come together in counterpoint. They don’t sing the same words or the same melody, but their voices move around each other like they’re on parallel roads, heading the same direction. It’s not just musically interesting—it’s deeply symbolic. That bridge is the journey. It’s the effort it takes to close the distance between where you are and where your heart belongs.

And then—finally—they arrive. The last chorus is sung in unison. The two voices, once apart, are now together. That’s the moment of reunion. That’s stepping through the door, hugging your people, smelling the autumn leaves outside your window. That’s home.

Musically Speaking
I kept the instrumentation simple on purpose.

Acoustic guitar carries the emotional tone—warm, honest, unfiltered.

Drums are subtle but essential, giving the track forward motion without rushing the listener.

And the vocals—they do the heavy lifting. They’re not just narrators; they are the story.

I love how the bridge uses contrapuntal lines to take what could have been a straightforward folk song and push it into a more progressive, artistic space. That moment of melodic complexity reflects how tangled and nonlinear the emotional journey home can be.

The Visuals
We filmed the visuals during peak autumn in Tennessee. If you’ve never seen the red trees here—really seen them—you’re missing something extraordinary. The leaves don’t just turn; they burn. The reds are deep and rich, and when sunlight hits them, the entire landscape glows like a memory you didn’t know you had.

I wanted the visuals to match the song in tone—not flashy or stylized, but sincere and vivid. Every shot is a piece of the world I was missing while I was away.

If You’ve Ever Missed Home…
This song is for you.
If you’ve traveled far and found your heart tugged back toward the people who know you best—this is yours.
If you’ve ever walked through your front door after being gone too long and exhaled like you hadn’t breathed in weeks—this is your soundtrack.

Thank You
For listening. For watching. For letting me share a piece of my story with you.
If this music resonates with you, I hope you’ll carry it with you the next time you’re far from home.
Because no matter where we go, no matter how long we’re gone…

Always come home.

Home in Tennessee

I didn’t write 4 Minute Bake to say anything profound. I wrote it because I wanted to burn through four minutes with nothing but power, drive, and rhythm. This piece is about being loud, fast, and unapologetically physical. It doesn’t build toward some grand emotional payoff—it is the payoff. Right from the first strike.

The heartbeat of the piece is taiko drums—relentless and chest-pounding. I built around that core using air gamelans, a synth pad for a bit of sustained color, and both bowed and struck gongs to stretch and smash the space in between. It’s what I imagine if Mike Portnoy was dropped into a taiko drum circle and told to go full Dream Theater mode—no restraint, just propulsion.

I see it visually as a kind of drum fever dream—a room full of percussionists in reds and browns, all motion, no stillness, everything sweating and shaking with intention. It’s cinematic. It’s experimental. It doesn’t need to explain itself. Just hit play.

This isn’t for everyone—but it’s definitely for:
• Percussion enthusiasts who live for the beat
• Choreographers looking for sound that pushes bodies into action
• Film directors who need something that surges forward like a train with no brakes

Big thanks to the Strepito group for bringing this to life—your energy is all over this recording.

One last thing I try to remember when I write:
Have a focus—and go after it with everything you've got.
This piece is that mindset, turned into sound.

Sketches 2025

4 Minute Bake

4 Minute Bake - Master 20250605

Cinnamon Stars
A Personal Reflection on Memory, Drums, and Dust

This piece started with a poem. Well—half a poem. The phrase “cinnamon stars” dropped out of my pen one morning and just… stuck. I wasn’t planning on writing music that day, but that phrase opened something—a fissure, a portal, a spice-laced memory chamber—and suddenly, I wasn’t at my desk anymore. I was walking inside the pages of Dune. Not in a literal, fan-art way. More like: emotionally wandering through the book’s residue. Echoes. Dust.

There’s no clear timeline in Cinnamon Stars. No beginning, middle, or crescendo. It’s not that kind of piece. This is closer to remembering something you never lived—an abstract recollection. The sounds came the way desert winds move: nonlinear, patterned only by something ancient and unknowable.

Sound as a Memory Map
The instrumentation came together slowly, but instinctively:

Taiko drums for their elemental weight—like the slow heart of a sandworm or a tribal rite you’re not meant to witness.

PVC pipe drums—hollow and reverberant. They remind me of wind howling through a Fremen sietch, or what bone might sound like if it dreamt.

A modified kalimba, twisted just enough to lose its sweetness. I wanted something that sparkled but wasn’t friendly.

Synths, of course—droning, gliding, breathing. They’re the thread, the mist, the mechanical sand.

There’s no narrative to hold onto here. Just emotions, in layers:
Mystery. Distance. Stillness. Pressure. Curiosity.
I didn’t write this to be followed. I wrote it to be entered.

Sometimes, when I listen back, I slip into a meditative state. Not on purpose. I just fade in, as if some part of me remembers a past I’ve never had. Maybe it's the spice. Maybe it's just the rhythm of forgetting.

A Visual Echo
The visual element came later, but it’s integral. I had Sora build a 3D wall-hanging sculpture—somewhere between Klimt’s glimmering mosaics and Dalí’s warped dreaming. Texture is everything. I wanted golds and shadows, sharp edges that curl, things that feel aged but alive. I didn’t want to illustrate the music—I wanted the art to vibrate with it, mirror its emotional logic.

It’s not a moving image in the traditional sense, but there’s movement inside it.
Like dust suspended in light. Like an altar in a dream.

Who Might Hear This?
I imagine this resonating with:

Film producers searching for ambient cinematic atmospheres with edges.

Choreographers who like music that breathes but doesn’t beg for attention.

Percussionists curious about unconventional forms—who know that rhythm doesn’t always mean tempo.

But really, it’s for anyone drawn to sonic meditation. For listeners who appreciate uncertainty, who can sit inside mood without asking it to resolve.

What Sets It Apart?
This isn’t ambient as background. It’s ambient as portal.
What sets this piece apart is the combination of tactile percussion and spacious electronics—that soft tension between grounded and drifting.

It doesn’t offer resolution. It offers reflection.
A sense that maybe… just maybe… you’ve heard this before.
Not in this life. Not on this planet. But somewhere.

“When I listen to this piece, I drop into a meditative state... perhaps it’s spice-influenced?”
—me, to myself, more than once

Acknowledgments
As always, my deepest gratitude to the Strepito group. They turned these weird textures and pulse-ideas into something real, playable, resonant. They understood the emotional logic of the piece before I had words for it.

Cinnamon Stars (Master 20250506)

Eric Schultheiss stands at the vanguard of contemporary composition, forging a unique path that bridges the rhythmic drive of global percussion with the infinite possibilities of digital sound. As a composer, percussionist, and educator, Schultheiss is acclaimed for his hybrid electro-acoustic works—pieces that fuse the organic pulse of drums with orchestral richness and the sonic innovation of modern electronics.

Rooted in a Southern California upbringing steeped in progressive rock, classical discipline, and the improvisational freedom of jazz, Schultheiss draws on a vast tapestry of influences. His music channels the off-kilter accents of Stewart Copeland, the lyrical intensity of Neil Peart, the storytelling depth of Peter Gabriel and Sting, and the progressive artistry of Genesis, Dream Theater, and Spock’s Beard. This synthesis results in compositions that are as intellectually rigorous as they are emotionally evocative.

Currently, as Head of Percussion Studies and Electro-Acoustic Composition at the Middle Tennessee Conservatory of Music, Schultheiss is an outspoken advocate for the DAW as a true instrument. In his hands, digital workstations become canvases for sonic experimentation, allowing for real-time orchestration, microscopic precision, and the layering of polyrhythms and timbres that would be impossible with traditional notation alone. He champions technology not as a shortcut, but as an authentic extension of the composer’s voice.

Signature works such as Lights Twinkle—a Christmas percussion-ensemble piece blending Japanese Taiko, harp, and haiku-inspired vocal textures—showcase his ability to unite tradition with innovation. Airidea’s Journal explores the dialogue between structure and freedom through dance-driven percussion and atmospheric synths, while As You Sleep and Terminal Memory reveal Schultheiss’ penchant for ambient soundscapes, introspective melodies, and cross-media collaborations. His compositions have been commissioned for film, dance, and multimedia productions, performed by leading ensembles, and praised for their intricate interplay of rhythm and resonance.

As an educator, Schultheiss is dedicated to shaping musicians who are not only technically skilled but also creatively fluent in both acoustic and digital modalities. At the Middle Tennessee Conservatory, he mentors young composers in hybrid techniques, polyrhythmic structures, and DAW-based workflows, encouraging them to embrace technology as a creative partner. His influence extends beyond the classroom, as he helps students gain visibility in the digital era and equips them to thrive in an evolving musical landscape.

Through his relentless curiosity, innovative spirit, and commitment to artistic growth, Eric Schultheiss is redefining what it means to be a composer in the 21st century. His work is a testament to the power of bridging tradition and technology, and to the limitless frontiers that await those willing to explore them.

Eric Schultheiss

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