Let's Go Back To The Forest

I recorded some toy glockenspiel on top of my telecaster. On the other track good old electric guitar feedback.

Tulppaanit

A Storm In The Desert

Autotelic green

Had some fun writing a "break up" song. I asked my brother Vincent to work up the music and to produce it...he aced it!

Gone, Gone, Gone

Works for String Trio, Woodwinds and Percussion

Suites for Chamber Ensemble No. 4, 5, 6, 7

Suite for Chamber Ensemble, No. 4

Suite for Chamber Ensemble No. 4

In collaboration with Francess Harris. She played the piano composition and I did the composition of the orchestral arrangement. Thank you for listening and enjoy. Any comment is appreciated always.

Collaboration Timothy McGuire / Francess Harris

Twilight Serenade

Twilight Serenade (feat. Fr. Harris)

I'm walking in the tall grass
Cool to my feet
Got nowhere to go
I got nowhere to be

O just to be boys again
O to be boys again

Help me up on this bicycle
Point me downhill
A hunert miles an hour
O what a thrill

O just to be boys again
O to be boys again

Maybe just a scent on the breeze
But it's all coming back to me
The sun suspended never to set
All been lost to me now, and yet...

A whole store full o' treasures
Penny candy and gum
I never knew shoplifting would be so fun

O just to be boys again
O to be boys again

O that I could lose all I've become
O that I could find what I once was

O just to be boys again
O just to be boys again
Oh to be boys

O To Be Boys Again

Kings from Underground

Sky tribe - 20-7-2025

Diagonal da sala -10-8-2025

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 No. 4

Jim Lynch