Name: Suite for Chamber Ensemble No. 6 by Jim Lynch
Duration: 6 min 50 s
Description: Works for String Trio, Woodwinds and Percussion

Written and performed live using Teenage Engineering OPXY. Lyrics by MC Vapour

Insane

Ya desde hace algunos que llevo descubriendo las cosas que me han influenciado como músico (y también como persona). Por ejemplo, los programas japoneses de mi niñez. En un momento subestimé su influencia, pero viendolos de nuevo, sentí que todo cobraba sentido. Y no es simple nostalgia. Más bien, ahora reconozco el trabajo que es crear algo como esos shows, y de todos los artistas que hay detrás. Espero que ellos sepan lo importante que ha sido su arte en la vida de tantas personas. 

Bueno, sobre este track, la verdad no sé que tengo aquí. ¿Es un remix? ¿Un mash-up? ¿Un collage sonoro? En cierta forma, me recuerda a la "Guía de orquesta para jóvenes" de Britten, aunque más juguetona. Tal vez sea eso, un juego, uno que me ha divertido mucho, debo decir. No es como lo pensé inicialmente, pero creo que así esta mejor. Esa es parte de la diversión.

†ॐ

Fuente de los samples utilizados:
･ Narración: Talía Marcela. Samples de voz extraídos de "¿Puedo hacerlo yo?" (できるかな?).
･ Tema orquestal y bajo: "Prism Flash (M17)", compuesto por Kohei Tanaka. Extraido de "Choushinsei Flashman".
･ Tema de cuerdas: "Athena's Love", compuesto por Seiji Yokoyama. Extraído de "Saint Seiya".
･ "Eyecatch 1", compuesto por Takeo Watanabe. Extraído de "Candy Candy".

Piano y teclados interprados por Thomas O'Higgins Horna
Producido y mezclado en Kolima Forest Studios.
Carátula por mí, gracias Noppo-sensei.

Dedicado a Ei Takami, Jun Imura, Seiji Yokoyama, Kohei Tanaka, Talía Marcela, Masami Kurumada y Shotaro Ishinomori.

Dekirukana 95

another guitar tested

evinsturim

Works for String Trio, Woodwinds and Percussion

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

Suite for Chamber Ensemble No. 6

Anything Anything

mockba

Wonderful Backing Track provided by Reinhold Tracks ==> https://www.youtube.com/@reinholdtracks

WORRY ABOUT TOMORROW
Come what may, come what might
I’ll never give up the fight
For today, I’m shining my light
A smile you can’t borrow

CHORUS
I’ll worry about tomorrow
When it gets here, yeah-yeah
I’ll worry about tomorrow
When it…gets here

Ooooh-ooooh, Ooooh-ooooh

Just when you think you’re on top
Your blue sky begins to drop
Tears have gone but they never stop
A heart ain’t easy to follow, ‘cuz

Life is full of don’ts and ifs
More gimmicks than there are gifts
More downers than there are lifts
Less joy than there is sorrow, so

CHORUS
I’ll worry about tomorrow
When it gets here, yeah-yeah
I’ll worry about tomorrow
When it…gets here

Ooooh-ooooh, Ooooh-ooooh

Mighty men will always be at war
Power is the drug they want more
Pray like hell God’s keepin’ score
Seems there’s little time to borrow, but

Come what may, come what might
I’ll never give up the fight
For today, I’m shining my light
A smile you can’t borrow

CHORUS
I’ll worry about tomorrow
When it gets here, yeah-yeah
I’ll worry about tomorrow
When it, when it gets here

I’ll worry about tomorrow
When it gets here, yeah-yeah
I’ll worry about tomorrow
When it, when it gets here.

© 2025 Renee La Chapelle – All Rights Reserved

WORRY ABOUT TOMORROW

Spanish Dances No.4 Op.34

Really cool backing track provided by Patagonik Tracks ==> https://www.youtube.com/watch?v=QnXMdboNYBw

NO PLACE TO FALL
Got a bum shoulder
Got a bum hip
If I’m not careful
I could lose my grip
Got an old house
Has a high rent
Frugal as I am
Money’s all spent

CHORUS
Got no lover in my life
Got no love at all
Got no lover in my life
Got no place to fall
No place to fall
No place to fall

I’m no Feminazi
Never have I been
Be damned to find a man
I can love again
Because it’s true
Get to a certain age
Like pickin’ through leftovers
Just frogs to engage

Got no lover in my life
Got no love at all
Got no lover in my life
Got no place to fall
No place to fall
No place to fall

Findin’ a friend
Like diggin’ for gold
If you get lucky
Won’t die in the cold
The friends I had
Scattered, dyin’ or dead
Got just one brother
Leaves me cryin’ in my bed

Got no lover in my life
Got no love at all
Got no lover in my life
Got no place to fall
No place to fall
No place to fall

[Music]

Got a bum shoulder
Got a bum hip
If I’m not careful
I could lose my grip
Got an old house
Has a high rent
Frugal as I am
Money’s all spent

Got no lover in my life
Got no love at all
Got no lover in my life
Got no place to fall
No place to fall
No place to fall

Got no lover in my life
Got no love at all
Got no lover in my life
Got no place to fall
No place to fall
No place to fall
No place to fall
No place to fall
No place to fall
No place to fall
Got no place to fall

Got no lover in my life
Got no love at all
Got no lover in my life
Got no place to fall
No place to fall
No place to fall..

© 2025 Renee La Chapelle – All Rights Reserved


NO PLACE TO FALL

Looking backward! I am starting a collection (playlist) of covers of some of my early tracks on Soundcloud, at a time when I was singing and playing a uke/guitar. I often referred to them as "me and my uke"  or "me and my guitar". I did get some very nice comments on many of these but covering the tracks on Suno has smashed the originals in my own view. This is one of those covers, and incidentally one of my most listened to tracks. It is purely for my own pleasure but maybe you will enjoy these updated trracks.

After You've Gone (cover) (remix2025)

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. 6

Jim Lynch

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