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

Southern Island

Southern Island (南の島)

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

L'Arbre des Âmes pourrait être l'endroit le plus sacré pour certaines peuplades, et leur permettrait de communiquer avec leurs ancêtres, ou faire l'objet de certains rituels .... 
Son accès est souvent interdit au étrangers ....
À quoi ressemble-t-il? 
Je vous laisse l'imaginer en écoutant ce nouveau concept.

***************************************************************************************************

The Tree of Souls may be the most sacred place for certain peoples, allowing them to communicate with their ancestors, or be the object of certain rituals .... 
Access is often forbidden to outsiders ....
What does it look like? 
I'll let you imagine as you listen to this new concept.

The Tree Of Souls ....

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

Altair IV

Lovely (electric guitar)

Hello Everyone,

It's a long time ago i posted one of my Classical adventures : )

Enjoying Life in peace & happyness whenever & wherever is my go & hopefully it is/will be the same for all of us !

Have a great whatever will be 

Andreas

Retour aux temps passés

'perhaps, the best...'

Baby, unfortunately you have gave me
no choice but to leave you,
'cause you're crazy.
Indeed, at once it was 'maybe.'
But, now it is definitely 'no.'
Although I am sad to see you go.
And wish you all the best.
I still love you.
And always will for what you've been to me.
Eternally. 

I pushed you through your spare room window
and never left.
You made me poutine, burned your arm and had sex. Perhaps the best...

perhaps, the best

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

Boring Music II
Violin, Cello and Organ

SCORE VIDEO
https://www.youtube.com/watch?v=5ZulZRiSvdI&pp=0gcJCRUKAYcqIYzv

Boring Music II

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