Compositeur arrangeur : Philippe SEGUINARD
Auteur mélodiste : Guillaume DULER
Lyrics :
Rêves embrumés éphémères danses
Poussières de nuit voilées de silence
Dormir sur la Lune
Voleurs de vent  souffleurs de nuages
Flou d'amours denses à l'état sauvage
Dormir sur la Lune
Apprivoiser nos murmures
Abandonner nos armures 
Dormir sur la Lune
Caresser nos sensations
Effleurer nos émotions
Dormir sur la Lune
Nager sous l'eau delà des courants
Flotter de rives en rives en rêvant
Dormir sur la Lune 

Foggy dreams, ephemeral dances
Night dust veiled in silence
Sleeping on the moon
Cloud-blowing wind thieves
Blur of dense wild love
Sleeping on the Moon
Tame our whispers
Abandon our armor 
Sleeping on the Moon
Caressing our sensations
Touching our emotions
Sleeping on the Moon
Swim underwater beyond the currents
Floating from shore to shore dreaming
Sleeping on the Moon
© Guillaume DULER / Philippe SEGUINARD  2022

Dormir sur la Lune   TRANSLATED

Alchemical [Fusion] is a haunting progressive rock epic that conjures the eerie specter of nuclear annihilation. The song's narrative is woven from the words of J. Robert Oppenheimer, who famously declared "I am become Death, destroyer of worlds" as he witnessed the first atomic blast. The track's haunting harmonies and driving rhythms evoke the apocalyptic consequences of nuclear war, as eerie audio clips from Harry Truman's announcement of the atomic bombings of Hiroshima and Nagasaki eerily underscore the song's themes. Through a maelstrom of soaring guitar solos and pounding drumbeats, "Alechmical [Fusion]" probes the dark heart of humanity's most devastating creation, leaving the listener to ponder the devastating consequences of our destructive potential.

Alchemical [Fusion]

We are pleased to present track 2  from our new album, 'Haunting One Seven,' full album available on Bandcamp, we hope you’ll enjoy!

outstation.bandcamp.com/album/haunting-one-seven

Haunting One Seven

Free And Easy

Graceful Pari

I am not a religious person
Happy New Year! 

Come gather round people
You won’t believe the news
The war has ended
And there is peace on earth, it's true!

The people made their stand
Arm in arm, and hand in hand
And there is freedom in our land

No more poverty and greed
No more homeless in the streets
No more leaders telling lies
No more borders to divide 

All the world has become one
And we’re righting all the wrongs
Can’t you hear the song
And angels sing above
Songs of grace, songs of love
And it gives us hope again
As they sing their sweet refrain
Throughout the land

“Peace on earth to everyone”

Peace On Earth (Christmas '24)

'Mirrors And Reflections' is a Jazz Fusion track.

Composed, arranged, played and produced by myself.

Wishing you all a Merry Christmas and a Happy New Year. 
Alan

The Three Ps

Mirrors And Reflections

For our last collaboration of the year 2024 we have chosen to take you far away to forget that sometimes life is hard but deep down ...everything becomes beautiful with music!!...provided of course that you are sensitive to our universe!

good listening and happy new year to all!!!!!!!

Kaelle ..

SWEET DAY TRIPS BY KAELLE ELECTRO & ERIC GEORGESCO

"'Tis better to have loved and lost, than never to have loved at all." - Alfred Tennyson, "In Memoriam"

A reflective composition in memory of my mother, who lived a wonderful life and loved others unconditionally.  To have loved her back for many years was a blessing and memories of her are a great treasure.

To Have Loved

Contemporary work for String Quartet, Woodwinds and Percussion.

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.

Suite for Chamber Ensemble 2024

Suite For Chamber Ensemble 2024

Itiruklos

You can use this track for whatever you want or need. I will appreciate your colaboration in my profile!! Enjoy it !! 

BPM : 50 4/4

Ambient track (50 BPM) you can use this track for whatever you need

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.

Suite For Chamber Ensemble 2024

Jim Lynch