■Helplessly Hoping (2005 Remaster) - Crosby, Stills and Nash 
https://www.youtube.com/watch?v=BdBs7JFn9Pk

◇A historic masterpiece that can be played with a simple chord progression and basic three-finger playing technique◇

[Am7]Helplessly hoping her  [C]harlequin  hovers near-[G]by,    awaiting   a   [D]word.
[Am7]Gasping at glimpses of [C]gentle true  spirit he [G]runs wishing he could [D]fly
only to [Am7]trip at the [C]sound of good-[G]bye. [D] 
------------------
I started playing this song to get my hands used to playing a guitar with nylon strings (ball end type). This is because I often play it for tuning purposes. I feel that it will still take some time for me to get used to these strings, so I will upload a number of recordings here, including some of me sluggishly, and show off my practice scenes.

I know that this song has been covered many times by large choirs and choral groups consisting of several people at recitals and the like. I recommend that you use the link below and use it as one of your regular practice songs :)

Once you listen to this recording, you'll notice that my guitar strings have a slight crackling sound. This wouldn't be a problem if my guitar wasn't used to the new strings, but this song uses a lot of open string sounds. Therefore, even if the performer tries to control the chattering sound with his left hand, he may not be able to do so. 

In other words, our acoustic journey with nylon strings has only just begun. I would be happy if you could feel that at this stage of recording, I am still in the ``beginner'' stage where I can't control myself. Because if you listen to the original work on YouTube from the link above and start singing along, you won't be able to hear the slight creak of my guitar in this recording. Please sing along with CSN's music source. 

Please master this song that has been sung by many people for decades. And sing along with my guitar. If you are practicing guitar, please follow the same steps. It would be a great honor for me to be able to start this nylon string acoustic journey with you all from the very beginning. That's a great start :)

■lyrics and chords
https://www.e-chords.com/chords/crosby-stills-and-nash/helplessly-hoping
https://chordseasy.com/song/35414/helplessly-hoping
*In the above site, the code for "They are one person" is G/C. I think that "C" may be "G7" or "G4".
■Crosby, Stills and Nash (YOUTUBE)
https://www.youtube.com/channel/UC25j4DwEaTkGHCUpQo2mZPQ

Helplessly Hoping - CSN cover

Helplessly Hoping - CSN cover (SOLO) with a gut-string guitar

sat down and wrote the some lyrics first for this one. did an acoustic sing and play track then added drums bass and lead.. a special thanks to heart house and the new kindness for commenting on the first draft of this song. 

the reason

This track is for Matilda ,an amazing artist ,whose kindness is overflowing .
Thank you so much Matilda ,you are an inspiration ,Thank you so much 
 Shine on .

Check out Matilda's Proud Dad ,and musical giant 

https://soundcloud.com/thebeautifuldark

Thank you both for making such special gestures to me.

Shine on , Be Well :-) :-) :-) :-) :-)

Matilda's Dub

Composed, arranged, performed, and produced by
Carlos Vivanco

Èr, Wǔ, Yī

Sombras Tardias

Sombras Tardías

Llanpsych -- @llanpsych -- Tez – Gibson Les Paul electric guitar, mix, production, and composition
Mistermark-- @user-432503709 -- Mark – synthesizer, claps, shakers, vocals, and lyrics
TexMex Shaman– @texmex-shaman –Stephen– Gibson Custom Shop Les Paul electric guitar
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken– drums and percussion
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – Fender Precision four string bass
This song started as a guitar composition Tez came up with while on holiday recently. He wrote it with the Eclectic Collective in mind, inspired by ZZ Top, and shared it with the rest of us as soon as he was able to return home and record it. 
  Stephen was first to the trough with this one, adding his thrilling guitar fills and solo. Being from Texas, too, he's no stranger to Biily Gibbons. Mark came next with some synth, and later added some claps and shaker. Ken put his rocking drums in after Mark, laying the groundwork for the groove. Josh completed the rhythm section with his bass soon after, though. Mark decided early on that he was going to add some vocals to this, and Stephen had to adjust his part to suit them. We're all really happy with not only Mark's lyrics, but especially his vocal performance, as well. Eclectic Collective now has a go to member of the band who know's what he's doing with his voice. 
  Once it was in the can, Tez decided to mix it, as it was his song to begin with. He did his always expert job with the task, too. 
  This is an example of Eclectic Collective getting down and dirty for a rocker that has the flavor of all of us firing on all cylinders. Special attention to both Tez and Mark for their inspiring generosity and hard work in conceptualizing this one, too. We all hope you enjoy listening to it as much as we enjoyed creating it.

Original lyrics by mistermark:

I got the top down, driving around
Burnin’ down the road, no prisoners
Everybody knows that I’m on the run  
I’m gettin’ outta here do or die 
Black Jack paddy whack listen to me 
ain’t giving no dog no bone
What’s mine is mine and what’s thine is thine
But if you want me just pick up the phone 
If you need my number I’m # 1
Mama raised me alone ‘cause I’m a son of a gun
Now I’m paying my dues but I’m almost done
So if you want a piece of me
Come and get me
Come and get me
Well, hey baby baby now what you say
You hitch a ride with me I’ll take you all the way 
she said hey there baby just step on the gas 
I got places to go I wanna get there fast
Well somewhere at around mile 103
I heard a rattling sound I had to check and see
We stopped right there on the side of the road 
Then what happened next it made my mind explode
The girl started laughing as she locked the door 
She put the pedal to the metal couldn’t push it no more 
Way off in the distance half a mile away 
My baby called out to me as I heard her say…
Come and get me
Come and get me
My feet got draggin’ in the desert sand
But as she waved goodbye something fell from her hand
I picked up the paper it was plain to see 
My baby wrote down her number and she left it for me
I been ‘buked & scorned I been thrown some shade 
I wanted revenge cause I gotsta get paid
I called her up but I just got the machine 
And wattaya think that the message said…

Come and get me

Come and Get Me - The Eclectic Collective

File Updated: Piano line in which I loosely had Heat Miser by Massive Attack in my head... I don't think I encroached originality... just wanted a similar vibe... also improved the vox... decided to go with Ronald Duck you dollar dumb as I hate saying its name and dont want to say fuck through the whole tune haha looses it's impact maybe doing that

Lyrics

Ronald Duck your dollar dumb
Ronald Duck your dollar dumb

The politics is switched off
It's not humane
Though humane is their job
I try for fantasy in sounds
And try and spell that slop
But that spelling can't be found

So in the dreams we ditch them
And somehow make a new plan
Here survival is focused to every cell
Everyone
Everything
Every atom
The whole system
Donald Duck your dollar dumb
Your Euro tone & your Yen
Donald Duck dollar dumb

The politics is switched off
It's not humane
Though humane is their job
I try for fantasy in sounds
And try and spell that slop
But that spelling can't be found

It's fucking your job...

So in the dreams we ditch them
And somehow make a new plan
Here survival is focused to every cell
Every atom
Everyone
Survival of system
Donald Duck your dollar dumb
Your Euro tone & your Yen
Donald Duck dollar dumb
It's survival Son
Donald Duck their dollar dumb
Money can't save anyone
No coin fixes Earth blisters

Dollar Dumb

ზط (w. "The Eighties Before Time")

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 Woodwinds and Percussion No. 2

«WALKING UNDER THE MULBERRY TREES». Op.91 (2017). New edition and execution (2025).

Special trombone glacier melt ice effects by soundcloud.com/joerxworx

Forgotten Glacier

Forgotten Glacier feat. joerxworx

"A mother's love is like no other love on earth" 🌹❤️

Mix & Mastering by @amin-pishehvar 🙏

original release 2018

Buy/Stream

A Mother's Embrace

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 Woodwinds and Percussion No. 2

Jim Lynch