Name: Sweet Dreams Of Coriolis by Jim Lynch
Duration: 4 min 48 s
Description: These songs are influenced by images from the poem Dover Beach by Matthew Arnold. I’m not sure how this poem came to me, I’m not a big reader of poetry, but there is is. I used several images from the poem to name the songs, as well.

Compelling original work. Imaginative variations and instrumentation

love the dynamic arrangement in this one ! the cello always sooths my soul and one of my favourite instruments, lovely ideas and changers here - relaxing and enlightening ! love it bud - thank you - shine

Absolutely Love this So Creative & Great Arrangement & Production ~

nice sounds, love the atmospheric dissonance

This music is storytelling. It is unique and captivating.

Les rois du monde

En attendant ma nouvelle musique, demo guitar de ma track  "ISTREA"... pour les nouveaux  arrivés sur Sound Cloud et ceux qui auraient zapper ce titre.
le clip video sur YOUTUBE : https://youtu.be/zkIxDx1lcFY….. vidéo complète ici: https://www.youtube.com/watch?v=FGnQys8AVao
Merci de prendre le temps de regarder.

-------------------------------------------------------------
While waiting for my new track, here is demo guitar  from ISTREA ...for newcomers to Sound Cloud and those who would have zapped this title.
 video clip on youtube: 
https://youtu.be/zkIxDx1lcFY
The full video here: https://www.youtube.com/watch?v=FGnQys8AVao
Guitar & all instruments  by Dgé breton
If you have a few minutes, consider giving it a listen! 
Thank you

S.C 

ISTREA pour demo GUITAR 1

These songs are influenced by images from the poem Dover Beach by Matthew Arnold. I’m not sure how this poem came to me, I’m not a big reader of poetry, but there is is. I used several images from the poem to name the songs, as well.

The Tide is Full

Sweet Dreams Of Coriolis

Dear friends, this song may seem a little bit weird.
I wrote it after a difficult struggle against several different passwords.
I am so fond of making self ironic songs - just for fun!
Among the worst is when you are logged out! So hard to be able to log in again, which can take forever! We older people also spend a lot of time looking for various things!

Not so easy for us Old

The times have changed for all of us somewhat older 
people who struggle along with all modern facilities around us
This morning I tried to open
the oven for to bake some bread for my wife and for me
but the child safety lock was too tough for me
It isn’t so easy for all of us old these days

When I was a child I used to call all my friends with an 
ordinary telephone but the modern equipment is too tiny for me
I’m just messing around with tiny knobs at the front
and lots and lots of strange messages are sent to me each day
and I don’t know what to do with them 
It isn’t so easy for all of us old these days


You should have seen me when I am going to 
back out my brand new car and if I am too close to my neighbors car
then all hell will break loose for me
it flashes and it squeals in every corner of my newly bought car 
now I think I will pick up my old car again
It isn’t so easy for all of us old these days

Approximate translation into Swedish:

Inte så lätt för oss gamla

Tiderna har förändrats för oss alla lite äldre
människor som kämpar tillsammans med alla moderna faciliteter runt omkring oss
I morse försökte jag öppna
ugnen för att baka lite bröd till min fru och till mig
men barnsäkerhetslåset var för hårt för mig
Det är inte så lätt för alla oss gamla nuförtiden

När jag var barn brukade jag ringa alla mina vänner med en
vanlig telefon men den moderna utrustningen är för liten för mig
Jag bara bråkar med små knoppar framtill
och massor av konstiga meddelanden skickas till mig varje dag
och jag vet inte vad jag ska göra med dem
Det är inte så lätt för alla oss gamla nuförtiden


Du borde ha sett mig när jag ska
backa ut min helt nya bil och om jag är för nära min grannes bil
då brakar helvetet löst för mig
det blinkar och det tjuter i varje hörn av min nyköpta bil
nu tror jag att jag ska hämta min gamla bil igen
Det är inte så lätt för alla oss gamla nuförtiden

Not so easy for us old

Out of the Box April 2023
Very nice two...

Some Girls Like Other Girls

relaxed vibes by https://soundcloud.com/cosmic-ratzzz - spiced up with some trombone and flugelhorn sounds by me ;-))

Lunatics 82 // Coco Mood // Cosmic Ratzzz & joerxworx

Me and the guitar.
This song is about not getting lost in your past.  Things happen that we can't change so don't linger on them, keep doing the best you can.
Little things turn into big things if we let them, live your life and look after yourself.

Little Things

Sinister.
Thanks as always for your generous time listening, for your comments and for your shares

Sinister

Sinister Sister - Jamie Rhind

White Heat

Hallelujah

Possessed

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.

Sweet Dreams Of Coriolis

Jim Lynch

Recent comments

Mario Savioni

Brian Evans Music

Donna Dior

Spirit Sound Innovators

Related tracks