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

The Light Gleams And Is Gone

https://youtu.be/BatGBByxnBY?si=EnhiWHFSIMM52FhC

Check me out on Apple Music: https://artists.apple.com/i/OTVVgImh1

https://www.beatstars.com/arpegiobeats

https://open.spotify.com/artist/33ex9qiWUBflbNAHI8hPQN?si=pC10Me7HQ9WAXIgG_3C_Sw

https://youtube.com/@arpegiobeats

I am a catholic producer artist , I grew up listening deferent kinds of music in English and Spanish, nowadays I found the way to create my own music and discovered that I can share what I know with others, that is what I really like about music, but the most important to me is that I really thank God for the skills he had gave me.

Aside from music I love to learn new things from other people, Video game and movie nerd. Establishment shill. Can tell if an apple is good just by tapping it. 
Music is on all platforms.

Entre emociones pasajeras e inquietudes creativas, por aquí encontraréis composiciones propias a piano y covers.
Gracias por vuestra visita.
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Between fleeting emotions and creative concerns, here you will find my own compositions on piano and covers.
Thanks for your visit.

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Entre emocions passatgeres i inquietuds creatives, per aquí trobareu composicions pròpies a piano i covers.
Gràcies per la vostra visita.

Credits:
*Microphone photo @ante3

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
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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.

operador3 de estibador hidráulico en Lágrima.
⁂ ❁
aka autokad iv:
https://helsinki.at/podcast/610444/

Everything here is performed by me (and written by someone else). 

If you enjoy what I do, you might like to also take a look at some of my music videos:
https://www.youtube.com/@nothings_thought_exists

This is the Blagovrecords record company page. We do the recording, digital processing (mastering and mixing), assist in the preparation and composition of the material and publish our musicians.

Lifelong keyboard player and composer and synth programmer. Perhaps, I hear things just a little differently...

The Light Gleams And Is Gone

Jim Lynch