Nice folk feel to the first part of the movement.And skillful orchestration.

Nice contrast here to the first part of the movement. A slightly "eastern" feel. I'll listen to movs. 2 and 3 when I get the chance.

AMAZING Jim , very moving music ;D I see you like the GREAT Zappa haha , he used to make me laugh with some of his exceptional , pushing cheeky boundaries of sonic language ;D

If there is a place called heaven, it would be here!

Southern Island

Southern Island (南の島)

It may be a blessing to have time to relax and drink tea. In my case, I'm drinking tea in a hurry.

This version is instrumental.

Tea Time Inst.Ver.

Tea Time inst.Ver.（お茶の時間 インストルメンタルVer.）

My Lovesong To You

If i were a rich man
I'll tell what I'd do
I'd bring all my treasures to you
If I were the king
I could make you a queen
With a beautiful, crown on your head

But I aint got diamonds
And I aint got gold
My gifts coming straight from the heart
And this is my hymn to you
It's the best I can do
This is my lovesong to you

If I were a sailor
Out on the sea
The wind would send my love to you
No matter if you
Are so far away
I always, stand by you, some way

Years may go by
And the time my fly
But darling, my love never dies
And this is my hymn to you
It's the best I can do
This is my lovesong to you

(bouzouki solo)
(chorus2 repeat)

This is my hymn to you
It's the best I can do
This is my lovesong to you
This is my lovesong to you



Words and music written by Patrik Eriksson
Production and performance by Patrik Eriksson

My Lovesong To You

Greg Hurley: Composition / Arrangement, Lyrics, Vocals, Slide guitar, Guitar, Keys, Bass and Drum programming, mix and mastering.
If you have the time.... Please repost!

**"Gold Boulevard"**

In the city of razor tongues and neon lights,
Where laughter hides the poison and the fights,
There walks a man with wry smile upon his face,
In a sardonic friendship, no one can trace.

Sardonic friendship, a dance of deceit,
A two-step of laughter, but hearts incomplete,
Fools Gold Boulevard, where the jesters reign,
In a world of illusions, we forever remain.

Beneath the facade of witty banter and charm
Lies a twisted allegiance, doing no harm
But the cynics and jokers, they understand
The allure of Fools Gold Boulevard's hand in hand.

Sardonic friendship, a dance of deceit
A two-step of laughter, but hearts incomplete
Fools Gold Boulevard, where the jesters reign
In a world of illusions, we forever remain

Solo

Beneath the surface, beneath the veils
Lies the truth we dare not to unveil
The bond of humor, the bond of pain
In Fools Gold Boulevard, we remain

So raise a toast to the friends we pretend
In the shadows of laughter, in the echoes of the end
Fools Gold Boulevard, a timeless masquerade
In this sardonic friendship, our secrets are laid

Gold Boulevard

Work for philharmonic orchestra in three movements.

"The moon's my constant mistress,
And the lonely owl my marrow;
The flaming drake and the night crow make
Me music to my sorrow."

 - from an anonymous folk song called "Tom O'Bedlam"

Orchestral Suite 2024 No. 1

Orchestral Suite 2024 No. 1 mvt-1

Lovely (electric guitar)

Let them rest, let them rest their heads
Let them breathe from the streams and the rivers up ahead
Let them rest, let them rest their heads
Float with the flys and moths 
To the endless swamp bed

Handstand in the birdhouse triangle 
Hearts laid down on the sandy bank
Footsteps past the forgotten road
Warm cold breeze..
Warm cold breeze, 3 hearts rest please

Left with the wind, the sun and the moon
I love you, I’ll see you soon
Left with the wind, the sun and the moon
Be free, I’ll see you soon


Rest easy…

Łet Ťhem Ręst

Skies

Written and recorded before breakfast. I  later re-did backing though and used subscription to re-upload 

Please let me let you down
I'm just a clown
My mind isn't sound 
It's known around town
Could you let me let you down?
Do let me lay about 
I've never been stout 
In my struggle with doubt 
Until I get gout
Please let me lay about 
Why don't we embrace love?
Why don't we embrace love?
Why don't we embrace love?
Embrace love
Would you let me let you lie?
Let your heart calcify 
I couldn't let myself comply 
Quite brave for a wise guy 
Would you let me let you lie?
Never could let you let me down
With words and deeds that confound
So let's wear a long gown 
And watch the sun going down 
Never never never let me let you down
Never let me let you down

Never Let Me Let You Down

⁂©ALL RIGHTS RESERVED 2024
©Lyrics & Creator: Lady ElectroTrek 
(Main Content--Extra included:)
Title:
KISSING LIFE GOODBYE
___________________________________________________________________
VS 1: Puerile human functions' reduction. Body reversal progressing. How do you stay happy, when all of life's essence being sucked away? Would it really mattered what you did because you can't cheat death anyway?

VS 2: Feigned feelings & bold brazen state of decline congealing. We hustle against the metamorphosis craziness that we didn't ask to belong to the non-contingent alarm anyway. 

VS 3: Challenges all consist of what someone else doesn't think exists. One begins to feel like Beethoven in a race to hear the music he writes as his hearing disappears. Leaving him sense a bit of impending & agonizing fears, as he tries to maintain in front of his peers.

VS 4: Seems quite often trials & tribulations hurl their tests for duration. Leaving our original plans seemingly to the damned.

Bridge: Didn't ask for life to dump a load of things we don't foresee. Worn out & wound down, black clouds chasing.

VS 5: Old age comes a creeping. The inevitable has left us with tail spinning. Only to have flashbacks of when hours & days seem to be a like a fresh fledgling flourishing brightly by being in the field among the winning.

Aging Realization In Sonic Formation

Kissing Life Goodbye

Wall Street Worries is a cinematic orchestral exploration of high-stakes capitalism, trading psychology, and the emotional undercurrent of financial warfare. Projecting emotions from haunting compositions, this suite traverses marimba-infused ambition, melancholic piano reflections, and grand orchestral climaxes. Each track is a chapter in the volatile symphony of market timing, missed signals, and the echo of every decision made too late—or too soon. From intimate piano notes to soaring brass declarations, the album embodies the mental tension behind chasing profits in a world ruled by volatility and value.

Track 7 Spread Hauntings

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.

Orchestral Suite 2024 No. 1 mvt-1

Jim Lynch

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