speedbump

i'm tired of this (and i told you)

Composed & Produced by: Chivicke
HomeStudio Productions ©2024
Image: Mat Brown

Loving You 66 Minutes Every Hour

Hello, wonderful friends!

I'm very happy to present to you my next collaboration with an extremely gifted Franck Charles. You can find more of his absolutely amazing cinematic and orchestral music here: @franck-charles-676082884

As always, I am immensely grateful to Franck for all his magnificent work on my piano music, making it most beautiful in all facets.

Thank you so much for your interest and time, we do hope you will enjoy this piece!  

Credits:

Composition & piano performance: Anastasiya Ihnatovich
Arrangement & orchestration: Franck Charles

Time Is Fast (Ft. Franck Charles)

Here is another track from Michele Ansani that I was invited to. On an old piano base from Michele,
I delivered alto and tenor sax, then he finished the arrangement with some keyboard phrases. ........
He dedicated this piece to the comet of the century.

Piano and keyboard: Michele Ansani - https://soundcloud.com/michele-ansani
Alto and tenor sax: joerxworx
Posted on SoundCloud: 2024, October 25

Tsuchinshan–ATLAS

One Acoustic guitar, some Celli and Vibes. 
This track was originally called 'So, misogyny, racism and corruption are OK after all' after the orange nutter was re-elected in a democracy.
Robert Llewellyn pointed out that this was a waste of a lovely track. 
I was watching the latest Professor Brian Cox BBC documentary programme 2 'Dark Planets' in his series 'Solar System' and I changed the title to celebrate the amazing reality of our universe and our staggeringly brilliant scientific ability to perceive it. The best in humanity is inspiring.

Dark Planets

'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

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

Another new track I'm working on. I hope you enjoy it. Please feel free to leave a comment as I greatly appreciate your feedback

Prophecy ( Early Rough Demo )

Bingo blow off pt1 . Live recording

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

01 - Spitfire Audio - Ólafur Arnalds Stratus - Matrix - Rhythmic Waves
02 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Trumpet - Decay Swell
03 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Timpani Crescendo
04 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Cymbal Roll
05 - Spitfire Audio - Aperture Strings - Refractions - Tremolo
06 - UVI - FALCON - Attack EP88 - Space Roadelay
07 - Soundiron - Voice of Wind - Adey - Sustain vowel - Oo p
08 - Sonuscore - The Orchestra Complete - Flute Sustain - Violin 2 - Staccato - Viola - Staccato - Double Bass Staccato - Horn Sustain
09 - Spitfire Audio - Olafur Arnalds Stratus - Matrix - Looped Rhythms
10 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Tenor Trombone - Decay Swell
11 - Spitfire Audio - Symphonic Organ* - Full organ and 1 Others
12 - Spitfire Audio - Woodwind Evolutions - A simple Start
13 - Spitfire Audio - Spitfire Solo Strings - Violin [1st Desk] - Legato (findered) with Eventide - Blackhole Reverb - Nebula
14 - Spitfire Audio - Fragile String Evolutions
15 - Heavyocity - Intimate Textures - Texture Designer - Org Celli Combo 02
16 - Audio Imperia - Nucleus - Solo Oboe Legato
17 - Spitfire Audio - Tundra Atmos - Atmos

* : Rugby School Chapel Organ

Fragile Tales [Part 3]

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