Name: Musique Trouvée by Jim Lynch in Your Mix 6
Duration: 4 min 29 s
Description: Based on a recording I made of a music box in Rosenborg Castle in Copenhagen

Your Mix 6

℗ © Copyright Ian Stokes. All Rights Reserved
Recorded, mixed and mastered using Logic. 
Guitars played: Taylor 714CE in DADGAD Tuning
Photography: Thanks go to Nigel and Libby Hume at Hume Photography.

Acoustic guitar instrumental.

Reunion

Somewhat of an undemocratic approach to saving democracy, don't you think?
******************* 
For this one, I rounded up my fantasy band, the Famous Texas Men Of Note, to perform at the imaginary Seven Sisters Dance Hall, some 40 miles west of Austin, in the heart of the Texas Hill Country.  The crowd wasn’t huge that night, but it was plenty raucous.  Needless to say, we brought the house down.  We always do.

LYRICS
Finally bagged the prize,
Event commemorated with a photograph,
A delightful list of crimes,
Got ‘em prancin’ with the lawyers down the primrose path,
The scribes down in the court,
Breathlessly report,
With a glee they can’t contain,

Oh they’re giddy….

Giddy like the rats that swarm the sewage slag,
Giddy like the vultures, feasting on the rotted culture,
That has spawned them from its womb,
And they tell us all how grateful we should be,
Cause they’re doing it to save democracy.
 
Yeah all fortitude & grit,
Our protectors wouldn’t quit,
On this noble quest,
There would be no rest,
Staged sudden raids, drew dossiers,
Tried Russian links, threw kitchen sinks,
To cage the dreaded pest,
Damn the proper form,
They’ve snared Le Bete Orange,
Slam the gavel, bring the charge,

And now they’re giddy…..

Giddy like the buzzards circling o’er their prey,
Giddy like the varmints, chewing on the hated target,
While the judges hold him still,
Giddy like the frantic hawks, flailing with their shrilly squawks,
The fear they just can’t kill,
Damn the coming storm,
Now they’ve booked Le Bete Orange,
Slam the gavel, bring the charge,
Hey, the law may be applied unequally,
But it’s the only way to save democracy.

I beg you Lovely Lady, turn your head away,
Away from the shame, away from the pain,
America, America, how did we let it get this far?
We are your sons, what have we done?
What have we done……….

Ah but giddy doesn’t last, when the vengeance & the wrath,
Shred the piers that bear the load,
No it won’t be so hysterical, when even Heaven’s miracle,
Can’t keep our father’s code, 

Oh but decision day is nigh, & the beast is still alive,
And far too many still believe…..

So arrest the Monster!...show it on TV,
Silence him & anyone who won’t concede,
There’s no time for constitutionality,
When the mission is to save democracy.

Giddy (now with lyrics)

Saw you walking last week
Down a stale local street
And the colours, they all fade away,
As we step through this dance of dissolving

My friend is beginning to melt
All her edges beginning to fade
All the lines on her face become cages
Tied up with all the nooses she has laid

I called out, but she can’t hear through the changes
All the ways that she has chosen now to be
Pulled aside the warp and weft, a little bit bereft
Like a fleeting streetlight trembling out to sea

Saw you walking last week
Down a stale local street
And the colours, they all fade away,
As we step through this dance of dissolving 

A tangle of matchsticks combs her hair
Just a woman who is never really there,
In a melting dream of someone, watch the edges drift apart
All out to sea…


*     *     *     *     *     *     *     *     *     *     *     *     *     *     *     *
Written sung made and played by Emma

All out to sea...

IN HAYAO DREAMS

It's always a pleasure and an honor to add to David's beautiful guitar compositions. This is (for me) a somewhat melancholy glance back at summer and a looking forward to what is to come: the crackle of a woodfire and the different ways the sunlight plays on the floors during the autumn season. I love the changing of the seasons and I thank my Creator for this pleasure.
Hear more of David's beautiful music @david-dunhamuser589535203

Bittersweet Goodbye: David Dunham & Debra Buesking

We are in the process of recording On Track, so decided to release a live version first. It was recorded at the Con Club Lewes using a TASCAM DR-05X handheld device on 19th April 2025. This was the first song of the set, the band were on stage and Rick (the singer) started with the train information message from the back of the club and only joined the rest of the band during the solo.
Here’s a movie of it on YouTube:
https://youtu.be/xPdlqZh3ya4

On Track (Live) 250419

A song that was particularly close to my heart to remix and especially to sing...So I tried to put my voice on this title that I love so much....And it is with immense joy that musical accomplice for almost 10 years....accompanied me on the piano.

Karine L.
KAELLE

DANCING ON MY OWN REMIX

Originally Composed by Yasunori Mitsuda (1999)
Arranged and Performed by Brian Butts

Image Generated by http://hotpot.ai

Dream of a Shore Bordering Another World

The killer

Based on a recording I made of a music box in Rosenborg Castle in Copenhagen

Musique Trouvée

the tales they will tell up on high…

Mayday, Mayday!

I don't know where I am or what time it is.
I was in a town I didn't know.
People wearing unfamiliar clothes.
I can't understand their language.

Is this some kind of accident?

Mayday, Mayday, emergency!
I feel like I'm about to sink.

Everything was normal until I got off the train this morning.
As I walked toward the office, things started to get strange.

Is everyone trying to deceive me?

Mayday, Mayday, emergency!
Or am I doing something wrong?

I'm trying to contact you, but I don't know how to use my cell phone.
I've never seen anything like this before.
Where did my iPhone disappear to?

For now, where should I go?

Mayday, Mayday, emergency!
The situation is serious.

Mayday, Mayday, emergency!
I'm waiting for your rescue.

Mayday, Mayday!

Life is So Fucking Wonderful

11/25/2025

I Welcome You Home For Christmas

Joy To The World

The Lights On The Estuary

⚡ Synthwave energy unleashed! ⚡ Shock the Algorithm returns with a brand NEW album — Ultraviolet Cosmos.
https://shockthealgorithm.bandcamp.com/album/ultraviolet-cosmos

🌌 Available NOW on Bandcamp — grab your digital copy today and step into the neon! 🌌

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.

Musique Trouvée

Jim Lynch

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