THE WISH - Re-Mastered Aug 2020
Written & Produced By Andrew Borderick
Copyright 2018/2020 AB Music All rights reserved
Mastering by Soundcloud Aug 2020

THERE'S SOMEDAY'S IN YOUR LIFE
YOU WANNA RUN AWAY AND HIDE
THE FALLING SKY IS UPON YOU

I'M TRAVELING IN A LONELY RIDE
SOMETHINGS GONNA MAKE ME CRY
I WISH A LITTLE LONGER I HAD YOU

I CAN HEAR A FALLING STAR
IT MAKE'S ME WONDER WHERE YOU ARE
AND THE WISH IS ALL FOR YOU

ALL THE BETTER DAY'S AHEAD
THE CLEARING SKY IT SAYS
EVERY SINGLE DAY IS ALL SO NEW

(chorus)
HAS SOMEONE EVER MADE A WISH FOR YOU
HAS SOMEONE EVER MADE A DAY BRAND NEW
ANYBODY TAKE YOUR HAND
TO A PROMISE LAND
THEN THE WISH IS ALL FOR YOU

EVERYTHING IS MADE FROM LOVE
EVERYONE DESERVES JUST ONCE
THE WISH INSIDE THAT COMES FROM YOU

I CAN HEAR A FALLING STAR
IT MAKE'S ME WONDER WHERE YOU ARE
AND THE WISH IS ALL FOR
(break)

IT'S NEVER TO LATE TO START
SOMETHING THAT YOU'VE NEVER HAD
THE WISH INSIDE THAT COMES FROM YOU

(chorus)
HAS SOMEONE EVER MADE A WISH FOR YOU
HAS SOMEONE EVER MADE A DAY BRAND NEW
ANYBODY TAKE YOUR HAND
TO A PROMISE LAND
THEN THE WISH IS ALL FOR YOU

2018 PRO TOOLS

THE WISH

Whose turn is it?  Is it your turn or mine?
Don't worry, everyone has to take a turn.

Whose Turn?

All Instruments By Martin Reed,
Produced By Martin Reed.

Into The Light

I started this a few weeks ago, when I was feeling more than a bit discouraged.

I know everyone gets to feeling this way sometimes, and so this is my offering to all of you who periodically feel this sense of hopelessness. I know what it is like. Hang in there, pray, ask a friend for help, know that there is always someone who cares. Know that I care, even if I don't know you by face or even by name. Perhaps one day I will.

Even more importantly, know that God cares. Never forget that.

Hope Transcendent

Digital Rocks

Fire In A Frosty Night

Hunting Horn!

Disquiet Junto Project 0465: You Thank. The Assignment: Make a piece of music for someone or something toward which you feel thankful.

The idea was to do something simple, that constantly changes between traditional and modern. It’s made with Caustic for Android (mix & fx in reaper) and some orchestral SF2 files, I think sonatina. I just liked the trombone…

And I would like to thank Marc Weidenbaum for his generosity with his time and creativity.

Follow me on Bandcamp: https://krakenkraft.bandcamp.com/

More on this 465th weekly Disquiet Junto project, You Thank (The Assignment: Make a piece of music for someone or something toward which you feel thankful), at:
https://disquiet.com/0465/
https://llllllll.co/t/disquiet-junto-project-0465-you-thank/

Thanks, Marc! [disquiet0465]

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

from triple album: TOmEgaReakTor (11/2020)
follow link 2 listen full...
https://neurologickthunder.bandcamp.com/album/to-mega-reaktor-book-a-entropy

Multiveris Ov Fortune

Music by Jeff Gburek 'Madludzi 935' https://soundcloud.com/jeff-gburek/madludzi-935
Sonopoetry and mixing by I.Boffa
Pic by I.Boffa

Tidy Up poem

'January

Tracts of land, unploughed
The eye’s attempt to tidy up

Month of beginnings and 
transitions, January

stores fatigue and anticipates
sowing

So many Januaries'

Tidy Up, Madludzi 935 (J.Gburek&I.Boffa)

Crazymess

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.