noxpox - tracco corazon

(Peterson | Sharbaugh)
Calebass (Mikael Peterson) [ https://soundcloud.com/calebass ]: vocals, acoustic guitar, percussion and drums, and melodica
Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ]: lyrics, 'steely' guitar, drums and drum machine programming, synthesizer and sequencer programming, and 'found sounds'
Recorded by Mikael Peterson [Calebass] [ https://soundcloud.com/calebass ] and Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ].
Mixed, Produced, and Engineered by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ].
Words and Lyrics by Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh ].
Composed and Recorded ca. December 7th, 2021 to February 14th, 2022.
sm19 [edit01] [eM] [24WAV].

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"Bittermouth II" has two 'sister' recordings that preceded it, "Bittermouth I" [ https://soundcloud.com/michael-ash-sharbaugh/bittermouth-disquiet0520-on-the-clock-sm7 ],
and "Bittermouth II" [ https://soundcloud.com/michael-ash-sharbaugh/bittermouth-ii ]-- both instrumentals; this one, "Bittermouth III," features Calebass singing My following lyrics:

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with bittermouth
I take You in

arrested in thought
adorned in sin

betrothed am I
to another's hand
yet succumb so swiftly
to this Siren's strand

where can My Savior
anchor His feet?
where might He gild His lungs
with an air so sweet?

nowhere close
is what I fear
once chance taken
the cost so dear

with bittermouth
i take You in
detesting this thought
the sinister sin

of My Lover's entropy

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"I, for years, had wanted to collaborate with this fine, unique artist, Calebass; this is the fruit of that labour.

Thank You, Mikael!

"

~ Michael

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Bittermouth III

"Bittermouth III" - Michael Ash Sharbaugh + Calebass

Forgotten Cloudy Day

https://soundcloud.com/sonic_kitchen https://soundcloud.com/sonic_kitchen/hallowed-corruption-open-collab-stemsmidi-in-description
https://soundcloud.com/sonic_kitchen/sets/hallowed-corruption-collabs
MOSNAR DET - Remixing, Drum Programming
Special thanks to Sonic Kitchen for offering up the great open collabs! check out the profile!

Sonic Kitchen - Hallowed Corruption (open Collab)

Singing Of The Wind

art work: Engin Akyurt via Pixabay

往きであり帰りでもある円環を左回りに風に揉まれて

Riding a bicycle through the city.
Turn the handlebars to the left.
There is no way out or way back on the circular road.
The wind is blowing.

Singing Of The Wind

Rise from the Depths

Think Back

Works for Grand Organ

Dual Enigma

More by Jim Lynch

Method: Speech sounds only - mostly morphed and modulated.
Narration: A moment, inside view. This poem is at least 30 years old. It is connected to scores of memories, reaching far back - or has it co-filled the space of those memories later? Yes, there  is a whiff of Scott McKenzy in  the final line. It is - in some strange manner - what poetry is about and what it is not about at all.
Note: You may use the poem to create your own version. In that case, please keep the title, record my copyright in writing and sc-message me to include your version into Sympoetic Ultrasounds. You might also post a link to your version in the comments.

Lyrics / copyright jo richter:

stepping
out of the library
into the open
I behold
people in motion

stepping

Proud to announce this track is another successful composition having reached No. 1 on the Soundcloud New & Hot Classical Charts within 72 hours of its release.

https://www.instagram.com/p/CitPEwFvVyj/

I have a great passion for classical composition and am inspired by many past classical composers.

Finally had a moment to complete a rather complex classical composition comprising of the cello, violin, full strings, bass strings, viola, violins 1, violins 2 utilising legato, tremolo, staccato movements.   I hope to make a proper cover for this one over the next few days.

Presenting Serenade of Strings - 
a piece of music sung or played in the open air, typically by a man at night under the window of his beloved.

Serenade of Strings

N-8-Bit Wandering

Album opener ambient 

Buy the album https://gregblock.bandcamp.com/album/dawn-kingdom-ep

Dawn Kingdom

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
------------------------------------------
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.