This is an absolutely powerful and expressive work. Thank you so much for sharing it.

Your Mix 2

Goodbye Blue Monday

Carefree

鍵(Key)

車椅子押して廊下を滑り行く
掌に落つ失せ物の鍵

Pushing my aunt's wheelchair, I glided down the dark hallway.
My aunt found my lost key and dropped it into my palm.

art work: OpenClipart-Vectors via Pixabay

A cover from one of the most gifted songwriters I’ve ever known: the late great BIG Jim Rogers.

She Stands Above You [Jim Rogers cover]

A retreat from concrete to nature. Dive into green space!

Purple Crushed Velvet

Works for Grand Organ

Dual Enigma

More by Jim Lynch

Part 91 of 266
Chapters released every weekend. All TAFFETA tracks are created within seven days. 

I use a complete hybrid of organic & electronic sounds within the scope of the Taffeta project. Nothing is out of the question and no limits are set on how things may evolve one way or another.

If you want to hear everything that has come before:
The TAFFETA Albums are available for free on Bandcamp.
Released in 15 part/chapter increments:

TAFFETA VOL. 6 released on July 6, 2022.

TAFFETA VOL. 5  is now available on Bandcamp: https://belialpelegrim.bandcamp.com/album/taffeta-vol-5

TAFFETA VOL. 4 
belialpelegrim.bandcamp.com/album/taffeta-vol-4

COVER YOUR TORSO WITH TAFFETA! Check out the official TAFFETA 2022 t-shirt!
https://belialpelegrim.bandcamp.com/merch/belial-pelegrim-official-taffeta-design

TAFFETA Volume 1:
belialpelegrim.bandcamp.com/album/taffeta-vol-1

TAFFETA Volume 2:
belialpelegrim.bandcamp.com/album/taffeta-vol-2

TAFFETA Volume 3:
belialpelegrim.bandcamp.com/album/taffeta-vol-3

The TAFFETA Playlist is always kept up to date:
soundcloud.com/belial-pelegrim/sets/taffeta-a-266-part-musical

TAFFETA 91

TAFFETA | 91

Art cover: Model ElectroTrek

Title: Basically
-------------------------------------------
Doot, doot, doot do do do dah do dah,
Doot, doot, doot, do, doot dah!

Basically, you think you own me,   
But, FYI, I don't give an *Uck...
Right to your eyes, 
I'd tell ya you're straight out of luck!

You don't live in my shoes, honey.
Can't, even if you didn't choose!
I wouldn't want to be stranded on an island with you, uh!
Ooh, you'd piss your pants--
Even faster than a driven lance.

So, you ain't so street smart,
Even in the least part.
That don't make you strong on top,
Even when you play on my turf!

Now you kiss my ass,
And crawl away in the grass!
I'm not to be played by you another day. Yeah!
All you ever ask,
Is thinking about your past.
I'm so over you...Ooh, yeah, ooh!

Basically, I own myself,
Putting you back on the shelf.
Can't stand the sight of 
What you thinkin' you are.

I don't know what you got baby!
Ain't enough to satisfy me.
You'll NEVER be in my bed making me happy, anyway! 

Yeah!
Ooh, ooh, ooh, ooh, ooh.
Ah, ah, ah, ah...
I got rid of you!
Ah ha ha, um, ah ha!
Ooh...
You're driven down on your luck!
Now you're gone!
Thank God!!
Basically, I own myself! 

Just a wee bit of a backstory shaping note:) *This track got its inspiration from a favorite genius lyricist of mine:)
Mr. Eric Festa, here on the Cloud! https://soundcloud.com/user-323190184

©7-31-2022 Release/*All Rights Reserved
Written Lyrics by: Lady ElectroTrek
Music by:
Track: Road Trip 
www.fiftysounds.com

Basically

Make Your Choice W/ UK Man

This is an uplifting yet thoughtful soundtrack, that lets your troubles be blown away in the wind. No AI or Loops have been used. Everything original :) 

Wind in your sails

Drizzling Rain

This captivating collection, Chill Synthwave and Techno Fusion, blends the nostalgic tones of retro synthwave with the driving rhythms of modern techno. Smooth synth pads, pulsating basslines, and hypnotic beats create a soundscape that is both atmospheric and energizing. Perfect for late-night drives, introspective moments, or creating a futuristic yet calming vibe.

Sparse Tech House Vibes

This electrifying collection, Cinematic Cyberpunk Symphony, combines the dark, futuristic tones of cyberpunk with the grandeur of orchestral symphonies. Featuring powerful synths, pulsating basslines, dramatic strings, and driving rhythms, it creates a dynamic and immersive soundscape. Perfect for epic storytelling, dystopian themes, or high-energy action sequences, this music merges technology and emotion in a thrilling symphonic experience.

Epic Future Melodies

Descrevo aqui, sem palavras e através de um rock prog, como foi o meu trekking até o alto desta Mágica Montanha (quando fui eu era um e quando voltei era outro).
Gratidão Monstro aos meus Irmãos musicais Cristóvam Ruiz (guita e baixo), Giovanni Pilosio (guita), Luis Pagoto (batera) e Fabio Daros (percussa).
Gravada e produzida no Estúdio Jaburu pelos Mestres Alexandre Morales (Bucha) e Beto Marsola

Tepuy Roraima... Fazendo Contato!

Scottish Ballad 
For my dear friend Lisa
https://www.sheetmusicplus.com/title/barbara-allen-digital-sheet-music/22552966

Barbara Allen

Uploaded a good year and a half ago, I give this song another chance 😆...here in the spotlight. For another year... 🤣...not really!

Reminders (A Map Of Your Mind)

Heavy Punk Rock 'n' Roll band turns into Synthwave nowadays! Brand NEW album "Ultraviolet Cosmos" available NOW!

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.

Dual Enigma

Jim Lynch

Recent comments

Paint-Germain

idematoa

Anastasiya Ihnatovich

Related tracks