'Air' from the 3rd Suite in D minor (From 8 Keyboard Suites) by G.F. Handel

Recording at the Banff Centre for Arts and Creativity, 2018.

'Air', Suite in D minor no.3, G.F. Handel

Rachmaninov - Prelude in G - Opus 32 No. 5

1013/2025

In My Desperation

Hukka

@enigmacurry made a song
@mystique_wind added to it

S03E12 - Inner Rhymes

A Brightly Coloured Smile

Here is the video: https://youtu.be/_qVbDNvnzfI

Perception

SanjajnaG @user-208097705
MKN RADIO @mknradio
Instrumental here:
https://soundcloud.com/user-208097705/thee-sorceress-plays-axis-harp-upon-ae-fairy-lullaby-mknsanjajnag-arkestrat
and MKN's version/remix: https://soundcloud.com/kadavreexquis/the-fairy-lullaby-one-lucid-dream
lyrics, vocals & their mix, photo-art . Mariam Zohra D : Myrh

______________________
ONE LUCID DREAM
i looked for my friend
from the other world
but we could not be friends again
in this world

i looked everywhere for them
and when i found their shadow and that tell tale gaze
the dropping of the hands at the thighs
the gait… they did not recognize me

i took years to prove our other life
but it did not work
and i lived a life naught mine but one
lucid dream of another

One Lucid Dream - MKN RADIO / SanjajnaG / Myrh

Dreaming Music
Guy-Frank Pellerin: tenor saxophone
Recording: 27/10/2020

Dreaming Music / Guy-Frank Pellerin

Harriet Tubman

Verse 1:
She was a master of a woman
Who brought many to Freedom
Risked life and limb in the pullman
Of the Underground Railroad to Freedom



Chorus:
Be Free, be free, Be Free, be free, freeeee
Be Free, be free, Be Free, be free, freeeee

Verse 2:
From down South to Philadelphia
Conducting slaves to freedom’s area
Freedom
Risking her life for others
Men, women, and children’s mothers

Chorus 2:
Harriet, is free, so free
Harriet is free, so free
Freeee

Bridge:
70 people brought to freedom
In 13 missions
Moses never left anyone behind
She followed
The abolitionist network

Verse 3:
During the civil war
She didn’t avoid the gore
The first female to lead an assault 
A nurse, spy, and cook
At least according to the book

Leading the Combahee Ferry Raid 
in South Carolina


Chorus 3:
Freedom on the Underground Railroad
Freedom on the Underground Railroad
Harriet Tubman brought
Freedom on the Underground Railroad
Harriet Tubman brought
Freedom on the Underground Railroad


Unused Lyric ideas:
Along the railroad
Risking her life



Timing description:
This song is in 5/4 time.
The versus change on the 1.
The first half of the choruses change on the 3, the second half of the choruses change on the 2.
The bridge changes every two measures.  It changes first on the 2 (C-F), then the 3 (B- F#) and then the 4 (Am-Dm), then the 5 (G-C).

References:
https://en.wikipedia.org/wiki/Harriet_Tubman
https://www.nps.gov/hatu/index.htm
http://www.harriet-tubman.org/underground-railroad/
https://factsking.com/historical-people/harriet-tubman-facts/
https://www.youtube.com/watch?v=qRaelZgcUt0
https://www.history.com/news/harriet-tubman-facts-daring-raid

Harriet Tubman

Orchestra Eclettica Sincretistica - Marco Lucchi & Jim Lynch - piano patterns n°9

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.