"musica assoluta" (agosto 2021)

Classical

Circe Moje

Galitsia

Bessarab

aoyf di veg tsu shtot

The Red Queen

Ambient Bite 535

Hi and welcome to the 4th track by "Then She Reaches For The Gun". Huge thanks to all the artists involved. Once again its great to have new artists involved ! Its humbling that so many people want to be part of this madness : ) 

The project’s inspiration is two fold: Firstly its a homage to some of the stuff i grew up listening to like Mr. Bungle and other noisy bastards where anything goes, and often in quick fire succession and secondly it” a chance to work with an never ending stream of talented musicians that i have known for years either in real life Australia or via the Internet. Each track will no doubt change depending on who has sent me what. 

This track is titled This Misunderstanding Suggest Tenderness
 Its a phrase i saw in the comment section on one of Ilaria Boffa’s wonderful Sonopoetry, and from that Ilaria expanded and wrote the poem that opens and closes this work.

This Misunderstanding Suggest Tenderness features 

Ilaria Boffa - Poetry
Primaloop  - Drums/Percussion
Dani Kirby - Piano
Vartch - Voice
Holy ShitShow - Midi Strings
Axel Weiss - Guitar
TexMex Shaman - Talkbox
Chicago Word Brigade - Electronica/Keyboards
Martin Pozdrowicz - Sample Pad
Wüst - Electronica/Keyboards
Me -Midi Woodwinds/Noise/arrangement

If you would like to be part of this ongoing project

The process is simple, I collect a bunch of random recordings from people and then see what i can arrange from it. Nothing subtle here, just huge noisy fun : ) I am open to anyone that thinks they might like to be part of this mess. Drop me a message and i will send you my email. The only criteria is that i wont be using samples from TV/film/other music etc, so just original stuff played on instruments, field recordings, stupid drunk conversations etc. Cheers!

This Misunderstanding Suggests Tenderness

Contemporary Classical work for String Quartet, Winds, and Percussion.

Suite for Chamber Ensemble 2021 No 1

Suite for Chamber Ensemble 2021 No 1 part 2

More by Jim Lynch

Suite For Chamber Ensemble 2021 No 1 Part 2

Contemporary Classical work String Quartet, Winds, and Brass.

Suite for Chamber Ensemble 2021 No 1 part 1

Suite For Chamber Ensemble 2021 No 1 Part 1

See You Tomorrow

Henrik Meierkord : cello and fx
Marco Lucchi : vocals and Mellotron
Antonio de Braga : drums

music by Henrik Meierkord and Marco Lucchi
lyrics by Marco Lucchi

agosto 2021

***

Suddenly, it was meant to be
the Universe I'd seen

And the world just became a place
of Unity and Love

Henrik Meierkord, Marco Lucchi & Antonio de Braga - Summer Hymn

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.