c'è in giro da tempo una nuova 'musica assoluta', astratta, che sta fra la cosiddetta 'ambient music' e la 'drone music', nei pressi dei cosiddetti 'soundscape' o, meglio ancora, degli 'innerscape' .. a volte ha tratti più 'cameristici', o addirittura per strumento solista, a volte è più 'sinfonica' .. a volte usa solo sonorità 'sintetiche', a volte invece anche strumenti 'tradizionali' .. ha antecedenti illustri, sia nella cosiddetta musica 'classica', diciamo storica, sia nella 'popular music' e nel jazz .. a quella soprattutto io guardo

https://www.facebook.com/notes/marco-lucchi/musica-assoluta/10155811583217624/

this monthly selection is dedicated to Don Cherry

"musica assoluta" (dicembre 2020)

the tracks I made (or which I was involved in) during December

(2020) December works

Fall 21 multi Genre around the 🌎

Amazing Artists multi Genre November 21

the tracks I made (or which I was involved in) during 2020

(2020) works

at sunset

Hear it, feel it, it's a retro-modern sound wave 4 you :) full electronic! 
Cheers
Roger

CJR-Music originals | more info also here:  https://www.cjrogersmusic.com

Feel the Groove

Swimming, sailing, running, escaping in a time of shocks, uncertainties, threats, injustices, pollution, viruses, wars ... We encourage you to face all this stress to the rhythm of "Swimming in a Sea of Popcorn", with the updating that we have made of this classic of our repertoire.

The Reality is Never Enough

Swimming in a Sea of Popcorn

Introduction in English:
For me it was a big challenge in two ways to do the music to the lyrics of P-Ten, who lives in the Philippines:
First, he is the age of my son, who some of my SC friends know went through a serious crisis in the spring from which he has not really recovered yet. P-Ten obviously has something that my son still lacks at his young age: A belief in himself, in his own dreams and visions. While singing, I kept imagining that P-Ten was speaking to my son like a good friend of the same age, helping him to overcome his tormenting self-doubt. 
Secondly, P-Ten's lyrics also repeatedly mention the belief in God. I don't know P-Ten personally, so I don't know which God he is referring to in his text. 
I myself am not religious or feel to belong to a certain religious community. But, as I have already described it in my song "A Prayer of Hope", there exists for me a kind of "inner God" who goes far beyond me and holds the world together in the innermost; to whom I sometimes turn when my belief in myself falters and self-doubt plagues me. Then I can experience, among other things, in the dialogue with him, that I am not alone, that this inner God believes in me, carries me and holds me, no matter what happens.      

Introduction in German:

Für mich war es in zweierlei Hinsicht eine große Herausforderung, zu dem Text von P-Ten, der auf den Philippinen lebt, die Musik zu machen:
Erstens ist er im Alter meines Sohnes, von dem einige meiner SC-Freunde wissen, dass er im Frühjahr eine schwere Krise durchmachte, von der er sich bis jetzt noch nicht wirklich erholt hat. P-Ten hat offensichtlich etwas, was meinem Sohn in seinem jungen Alter noch fehlt: Der Glaube an sich, an die eigenen Träume und Visionen. Beim Singen habe ich immer wieder vorgestellt, das P-Ten wie ein guter, gleichaltriger Freund zu meinem Sohn spricht und ihm hilft, seine quälenden Selbstzweifel zu überwinden. 
Zweitens kommt in dem Text von P-Ten auch immer wieder der Glaube an Gott vor. Ich kenn P-Ten nicht persönlich und ich weiß entsprechend auch nicht, welchen Gott er in seinem Text meint. 
Ich selbst bin nicht religiös oder fühle mich einer bestimmten Glaubensgemeinschaft zugehörig. Aber, wie ich es schon bei meinem Song "A Prayer of Hope" beschrieben habe, existiert für mich eine Art "innerer Gott", der weit über mich hinausgeht und die Welt im innersten zusammenhält; an den ich mich manchmal wende, wenn mein Glauben an mich ins Wanken gerät und mich Selbstzweifel plagen. Dann kann ich unter anderem in der Zwiesprache mit ihm erfahren, das ich nicht allein bin, dass dieser innere Gott an mich glaubt, mich trägt und hält, egal was passiert.

Dream (P-Ten & Karlit-O-Kay)

Dream (P-Ten & Karlit - O-Kay)

;-Sculpture Quantique-;

"I Don't Understand" Electronic music with vocals and eGuitar
Just playing around with ideas, this song could be about life, relationships or even being in isolation and how dreams seem meaningful yet hard to explain or understand ... it's just the way this song came out.

I Don't Understand

Lets Go Bradon

Part 57 of 266
Chapters released every weekend. All TAFFETA tracks are created within seven days.

I use a complete hybrid of organic & electronic sounds within the scope of the Taffeta project. Nothing is out of the question and no limits are set on how things may evolve one way or another.

If you want to hear everything that has come before:
The TAFFETA Albums are available for free on Bandcamp.
Released in 15 part/chapter increments:

TAFFETA Volume 1:
belialpelegrim.bandcamp.com/album/taffeta-vol-1

TAFFETA Volume 2:
belialpelegrim.bandcamp.com/album/taffeta-vol-2

TAFFETA Volume 3:
belialpelegrim.bandcamp.com/album/taffeta-vol-3

The TAFFETA Playlist is always kept up to date:
soundcloud.com/belial-pelegrim/sets/taffeta-a-266-part-musical

TAFFETA | Part 57

This piece was written specially for the second edition of the "Omnibus Laboratorium" in Tashkent in August 2006. The piece was inspired by Georg Heym's Berlin I:

Beteerte Fässer rollten von den Schwellen 
Der dunklen Speicher auf die hohen Kähne. 
Die Schlepper zogen an. Des Rauches Mähne 
Hing rußig nieder auf die öligen Wellen. 

Zwei Dampfer kamen mit Musikkapellen. 
Den Schornstein kappten sie am Brückenbogen. 
Rauch, Ruß, Gestank lag auf den schmutzigen Wogen 
Der Gerbereien mit den braunen Fellen. 

In allen Brücken, drunter uns die Zille 
Hindurchgebracht, ertönten die Signale 
Gleichwie in Trommeln wachsend in der Stille. 

Wir ließen los und trieben im Kanale 
An Gärten langsam hin. In dem Idylle 
Sahn wir der Riesenschlote Nachtfanale. 

Berlin I

Marco Lucchi : tape and treatments

morphing the wonderful and emotional finale of "Passio Domini nostri Jesu Christi secundum Joannem" by Arvo Part

2011 ---> 2020

the complete album
https://marcolucchi.bandcamp.com/album/secundum-joannem

bandcamp

secundum Joannem

Marco Lucchi : synth, tape and treatments

4 gennaio 2020

here too
https://meticulousmidgets.bandcamp.com/track/the-call-of-the-chthonic

The Call of the Chthonic

Marco Lucchi : tape and treatments

'morphing' "Dauggier" and "Quarro" by Boson Spin
https://soundcloud.com/boson_spin/dauggier
https://soundcloud.com/boson_spin/quarro

7 gennaio 2020

I have seen the dark universe yawning
Where the black planets roll without aim,
Where they roll in their horror unheeded,
Without knowledge, or lustre, or name.

H. P. Lovecraft, Nemesis

Spinning bosons

Bandcamp

Boson Spin & Marco Lucchi - Spinning bosons

Zuhé : keyboards, synth and electronics

reworking "So old" by Marco Lucchi
https://marcolucchi.bandcamp.com/track/so-old

gennaio 2020

Marco Lucchi & Zuhé - So Old

Marco Lucchi : electric organ, analog synth and Mellotron

for Naviar Haiku
https://naviarlab.tumblr.com/post/190146715083/naviarhaiku314-buoyantly-we-go

13 gennaio 2020

Hyo-hyo to shite mizu wo ajiwau

Taneda Santoka 

Buoyantly we go / Like the wind, / Tasting water. (Tr. by R. H. Blyth)

Marco Lucchi - Hyo Hyo (Naviar Haiku # 314)

ALL THE DREAMS WILL CRY WITHOUT YOU
Written & Produced by Andrew Borderick Copyright AB Music 2015/2020
Featuring MIke Gabriel (UNGUIDED EXPRESS) on all guitars.
Key, Bass & Vocals by Andrew Borderick
Mastering by Mike Gabriel
Cover Design by my Granddaughter Elke Fletcher

WE LIVE SO FAR APART
BUT THE SUN GOES DOWN IN EVERY TOWN
AND THE DAYS WE GREW
YOU WILL ALWAYS SHINE

YOUR ROCKY MOUNTAIN LAND
TAKES MY HEART AND SOUL GIVES AN ENDLESS SMILE
I COULD LIVE IN YOU
YOU GET ME ROLLING HIGH IN THE SKY WITH YOU
(chorus)
ALL THE DREAMS WILL CRY WITHOUT YOU
ALL THE DREAMS WILL CRY WITHOUT YOU

NOW THAT I KNOW YOU
THERE IS MORE TO LIFE IT MAKES YOU CRY
THERE'S SILENCE IN THE AIR
NOW WE'RE FAR APART THERE'S ONLY PICTURES OF YOU
(chorus)
ALL THE DREAMS WILL CRY WITHOUT YOU
ALL THE DREAMS WILL CRY WITHOUT YOU
(break)
WE LIVE SO FAR APART
BUT THE SUN GOES DOWN IN EVERY TOWN
AND THE DAYS WE GREW
i WILL ALWAYS SHINE AN ENDLESS LOVE FOR YOU
(chorus)
ALL THE DREAMS WILL CRY WITHOUT YOU
ALL THE DREAMS WILL CRY WITHOUT YOU

ALL THE DREAMS WILL CRY WITHOUT YOU

ALL THE DREAMS WILL CRY WITHOUT YOU - Featuring MIke Gabriel (UNGUIDED EXPRESS) on Guitar.

Vanessa Pettendorfer: organ -
Bruno Gussoni: shakuhachi -
Mastering: Alexey Mikryukov

Vanessa Pettendorfer & Bruno Gussoni -  neiger à gros flocons

Bongore

Marco Lucchi : toy harp and Juno synthesizer

1 dicembre 2020

***

Our share of night to bear -
Our share of morning -
Our blank in bliss to fill,
Our blank in scorning -

Here a star, and there a star,
Some lose their way!
Here a mist - and there a mist -
Afterwards - Day!

Emily Dickinson

toy harp n°20 (+ Juno koto)

a rework from Pete Swinton of a track previously released by Marco Lucchi and M.Nomized

for "piano patterns" vol. 2, a project by Marco Lucchi
https://soundcloud.com/marcolucchi/sets/piano-patterns-vol-2

dicembre 2020

Marco Lucchi, M.Nomized & Pete Swinton - n°12

Marco Lucchi : piano

2 dicembre 2020

***



It is necessary now that I should tell what manner of man I am. My name, it matters not, nor any other outward detail particular to me. Of my character aught must be said.

The whole constitution of my spirit is one of hesitancy and of doubt. Nothing is or can be positive to me; all things oscillate round me, and I with them, an uncertainty unto myself. All for me is incoherence and change. All is mystery and all is meaning. All things are «unknown» symbolic of the Unknown. Consequently horror, mystery, over-intelligent fear.

By my own natural tendencies, by the surroundings of my earliest life, by the influence of studies undertaken under the impulse of them (these very tendencies), by all this I am of the internal species of character, self-centred, mute, not self-sufficing but self-lost. All my life has been one of passiveness and of dream. All my character consists in the hatred, in the horror of, in the incapacity pervading all that is me, physically and mentally, for decisive acts, for definite thoughts. I had never a resolution born of a self-command, never an external betraying of a conscious will. My writings were none of them finished; new thoughts intruded ever, extraordinary, inexcludable associations of ideas bearing infinity for term. I cannot prevent my thought's hatred of finish; about a single thing ten thousand thoughts, and tenthousand inter-associations of these ten thousand thoughts arise, and I have no will to eliminate or to arrest these, nor to gather them into one central thought, where their unimportant but associated details may be lost. They pass in me;

they are not my thoughts, but thoughts that pass through me. I do not ponder, I dream; I am not inspired, I rave. I can paint, but I have never painted; I can compose music, but I have never composed. Strange conceptions in three arts, lovely strokes of imagining caress my brain; but I let them slumber there till they die, for I have not power to give them their body, to make them things of the world outside.

My character of mind is such that I hate the beginnings and the ends of things, for they are definite points. The idea of a solution being found for problems the highest, the noblest, of science, of philosophy, afflicts me; that aught might be determined of God or of the world horrorizes me. That things of most moment should be accomplished, that men should one day all be happy, that a solution might be found to the ills of society, even in its conception maddens me. Yet I am not evil nor cruel; I am mad and that as it is difficult to conceive.

Though I have been a reader voracious and ardent, yet I remember no book that I have read, so far were my reading states of my own mind, dreams of my own, nay, provocations of dreams. My very memory of events, of external things is vague, more than incoherent. I shudder to think how little I have in mind of what my past life has been. I, the man who holds that today is a dream, am less than a thing of today.

Fernando Pessoa (originally written in English)

piano patterns n°14

a rework from M.Nomized of "piano patterns n°13" by Marco Lucchi

for "piano patterns" vol. 2, a project by Marco Lucchi
https://soundcloud.com/marcolucchi/sets/piano-patterns-vol-2

dicembre 2020

Marco Lucchi - piano patterns n°13 (minimal phase 13) - reworked by M.Nomized

a rework from Mean Flow of "piano patterns n°13" by Marco Lucchi

for "piano patterns" vol. 2, a project by Marco Lucchi
https://soundcloud.com/marcolucchi/sets/piano-patterns-vol-2

dicembre 2020

Marco Lucchi & Mean Flow - Butterfly Dance (piano patterns n°13)

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.