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

أنا حساب اختبار ضمان الجودة والنص الذي أكتبه هنا هو لأغراض الاختبار، وآمل أن كل شيء يعمل كما هو متوقع.

I’m a QA test account and the text I’m writing here is for testing purposes, hopefully everything is working as expected.

Please no offers for more followers, listeners or other advertising. I don't pay for advertising!

Looking for studio Projects/Producers & Manager, ideally being part of the creative process within Cornwall, UK.

My main influences are Film, Dance, Electronic, Gaming and Experimental but I love most genres so would consider all opportunities.

Website: www.veganvocalist.com

Good Mourning - Vegan Vocalist. Buy @CdBaby

https://store.cdbaby.com/cd/veganvocalist2

Influences:

Bob Vylan, Bloodywood, Dead Prez, Wu Tang Clan, Michael McDonald, Sa-Roc, Martha Wash, Carl Cox, Gilly Dangerous, Brett Wilde, Gary Numan, Peter Gabriel, Docile Doberman, Rage Against the Machine, Foo Fighters, Michael Jackson , Saul Williams, Ennio Morricone, Pink Floyd, Peter Skellern, Jerry Goldsmith, Genesis, Siouxsie and the Banshees, Radiohead, Hans Zimmer, Steely Dan, Stereo Lab,  Elliot Smith, Rufus Wainright, Led Zepplin, Akala, Ella Fitz Gerald, Olivia Newton John, Kate Bush, Freddy Fresh, John Barry,  Klaus Doldinger, James Honer, John Willams, Stevie Nicks,  Joni Mitchell, Portishead, Goldfrapp, Orbital , Professor Green , Nick Drake, John Martyn, Tim Buckly,  Elkie Brooks, Christopher Cross, Amy Winehouse, Bjork, The Carpenters, Whitney Houston, Veela, Sam Brown, Anita Baker, Mariah Carey, Clare Torry, Beth Hart, Frank Zappa, Grace Jones, Adele, Jessie J, Wintergaten ohhhh and Barry White, how could I forget you!

M'Z, is a solo project shaped by a wide variety of music :
Canterbury, Progressive, Rock in opposition, Metal, Electronica, Space rock, Noise, Jazz, free-rock, Ambient, Psyche, Heavy, Punk, Drum'n bass...

My name is Mathieu Torres and I am also a guitarist and composer in various artistic projects:
La théorie des cordes / Zhorhann / The diogenes / Matziz / Dirt in the wind / Urban BallShit / Inland Motel / Collectif La Barraque / Aux arts etc / Dirt and Cpu / no Skeletons / composer of music for the image...

The driving idea of ​​this particular project is to create parallels between poetic or philosophical concepts and music, without setting aesthetic barriers.

Born from the vital need to create, at the end of 2017, M'Z has since performed around fifty dates (Streets/Markets/Café-concerts (Cave a rock - L'usine à musique - Le Maquis - Red turtle café...)/Festivals (Résistance/Semaine jaune...)Off /Marciac - Bourges / Various support concerts...)
and released 4 albums, 1 EP and 2 singles which received very good press
(Diego Pinheiro Review - ProfilProg - Athos di MAT2020 - Autopoeitican - COREandCO webzine - AM: Plified - areARock - Mazik - Plus PROG de Vous - Eternal Terror - L'oreille à l'envers - Exposé . org - DPRP . net - The Elite Extremophile - Litzic...)

"Prisme" the first album, made the link between Colors, feelings and Music,

"L'autopsie du dogme" the second, attacked the music industry while working to analyze dogma in general and psychoanalyzing the members of M'Z in this quagmire in passing,

"Cool is watching you" (EP) was interested in demolishing, in music and lyrics, the idea of ​​the "Cool" posture that seems to be a norm in the era of social networks and the "start-upized" world

"La Nef" (single) as for it, tried to extract a source, more or less healthy, of the need for human spirituality, when it is freed from religious doctrines
"Hympécita" (single) paid tribute to an animal friend.

"La Civilisation de la Graine" the third was a musical reflection on the essence of our patriarchal organizations and our tendency to organize ourselves into civilizations, certainly elegant but undeniably unjust, ephemeral, violent and rickety. 8 pieces to try to analyze these phenomena.

And finally 'Emancipés du Vides ?'(emancipated from the void?) The fourth album, is a melancholic reflection on our emotional abysses, on the difficulty of extricating ourselves from our various attractions for nothingness, our inability to look at the mental waste that we produce without going through the guilt box, a critique of normalization, of the conformism of the hollow positivism praised by our overly marketed minds in search of the fastest path to "A Meaning". Finally, it symbolizes the vital necessity of finding our lost naivety.

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.

Jekyll & Hyde is the Liverpool UK based dj and music producer. Deep house, breakbeats and twisted techno are always at the forefront of his alternating musical moods. Bypolar Records is the outlet for Jekyll & Hyde's music.
Welcome to his world of electronic escapism.

Pianist, composer & arranger. https://juandiegofidalgo.com/
I completed higher studies in classical piano at the  “Conservatori Superior de Música del Liceu" in Barcelona.  My background encompasses many different styles, and has allowed me to develop my own talent as arranger and composer.  I have worked as an accompanist in the classes of prestigious musicians and I regularly perform in recitals for voice or for piano and choir,  I have been part of several chamber ensembles, performing an extensive catalogue of works and authors from the Renaissance to the 20th Century.  I have combined my work as accompanist and classical pianist with the piano parts / musical direction of numerous musicals and other productions. You may also want to check my YouTube channel and Score Exchange profiles for video scores of most of my compositions and arrangements of other authors' works.

Orchestral Suite 2024 No. 1 mvt-1

Jim Lynch