Seven moods in seven pieces
You can watch the video on YouTube: https://youtu.be/jTbdC7jZBYg

New Time for Everyone Feat. Special Cecilia

"I Liked Science Fiction More When It Was Only Fiction" It's a track from the FFA album "A Straight Line is an Infinite Circle"
https://famousforgottenartists.bandcamp.com/album/a-straight-line-is-an-infinite-circle

Be careful what we wish for, it could become reality. And maybe we don't like it anymore.

I Liked Science Fiction More When It Was Only Fiction

Watch the video clip for this track : www.youtube.com/watch?v=lSsW4L3VfaA
Maya Demarle: Vocal Improvisation (at the Recording she were 6 Years old) Franz Kuppler: Flute, Mekkbuda: Instruments, Editing

Maya lost in universe, yearning to be at home, at home

Vocals: Michael Wookey
Lyrics: Lew Furber
Music: Matthew Lee Knowles
Visuals: Daniel Adams

MUSIC VIDEO
https://www.youtube.com/watch?v=Xl0ldz48XMk 

An Afternoon In Paris

FOR REASONS UNKNOWN
French Horn Quartet
Matthew Lee Knowles
2025


Play once as written, then repeat, permanently removing a single note from any part
Keep repeating and removing until the 80th section contains only one note
An average performance will last 67 minutes
Each section should have a randomly chosen MM between crotchet=30 and 300
This realisation is only one of a potential 10^311 unique performances which would take 10^307 years to hear in full

In Lucky's speech in Beckett's "Waiting For Godot", the phrase 'For Reasons Unknown' is spoken ten times. 


SCORE
https://www.youtube.com/watch?v=NlHdtsJGjHk

For Reasons Unknown

(Verse 1)
I say words don’t mean much,
not when the truth’s been burned.
You tried to build it back with silence,
but silence never learned.
The cracks still show through every promise,
like scars that never fade,
and every time you reach for faith,
You find the trust was never made.

(Chorus)
’Cause trust is hard to earn,
easy to spend,
lost somewhere between
a lie and a friend.
It don’t come quick,
and it won’t return clean —
but if I stand my ground,
You might believe again.

(Verse 2)
We keep talkin’ ‘bout new beginnings,
but the past won’t let us go.
Every truth sounds like forgiveness
that we’re scared to show.
I ain’t sayin’ it’s all broken,
just sayin’ it’s been rough —
to make your heart believe again,
Haven't I bled enough.

(Chorus)
’Cause trust is hard to earn,
easy to spend,
lost somewhere between
a lie and a friend.
It don’t come cheap,
and it won't return clean —
but if I stay long enough,
You might believe again.

(Bridge)
Maybe time’s the only proof we get,
maybe words can’t fix regret.
But every hand you hold,
every truth you keep —
it builds what we both forget.

(Outro)
So don’t promise me forever,
just stand here till it’s true.
’Cause trust don’t start with talking —
it starts with you.

Trust Again

Composed 2009; this atmospheric classical solo piano piece arranged by Suno.com (AI), proceeds at a slow tempo, weaving soft harmonies and countermelodies in the left hand, Added depth via gentle chords and subtle arpeggios, The through-composed structure lets melodic and harmonic themes evolve, maintaining a clean, immersive, natural Grand Piano soundstage with expressive dynamic ebb and flow.

Piano Prelude no. 10

Outer space

Auralis

Sincere emotions

Over Thinking

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.

Over Thinking

Jim Lynch

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