L. A. October

This is my track 'Idyllic' in reverse :)

Original track is here https://soundcloud.com/crestofthesyndicate/idyllic-1

cillydi

Bien Trop Tôt [patAMuse surfing the L.O.B.]

A delightful high energy rock number about a lady cop who's just only steps away from catching her man...the man holding the gun...yes folks, he is the one who pulled the trigger on all of those innocent people that she's now about to hunt down! It's game over and there will be justice if she has anything to do with it!

Fix Ya | Music by Christian Moll of Eclectronix | Music & Vocals by REKHA | New Collab April 23rd, 2020

Check out the amazing music of Eclectronix here: https://soundcloud.com/eclectronix

Fix Ya - Music & Lyrics by REKHA

Baby you 
Are the one
I've been wait-waitin' for you
Babe I'm makin' me so...

I'm gonna get you
Cuz' you are my man 
Don't you know that
I'm gonna find-ind you
Cuz' you're the one-uhn
You, you, you are the one
Holdin' that gun
And I'm goin' to get ya-ah-ah

Imrprov-Oh

I'm gonna get you-oo
You're the one
I'm gonna get-cha
Get-cha, get-cha, real soon
You'll never get away with it
You are the one holdin' that gun
I'm gonna hunt you down
Like a lady killer, psycho killer

I'm gonna get you-you
There's gonna be justice
There's gonna be justice
There is gonna be justice
For all the wrong you've been 
Doin', doin', doin'
To all the innocent

And you are the one for me-ee
Can't you see you've gotta stop runnin'

Improv-Oh

I'm gonna get ya, get ya
And when I get ya, I'm gonna
Fix ya, fix ya, fix ya real good
You won't getting away with it
No, you won't get away with it
Holdin' that gun, Y-O-U
I'm gonna fix Y-O-U
UHN

Original Photo, Graphic & Cover Art Design by REKHA Iyern [Fe]
Original Instrumental Music Composed & Produced by Christian Moll in Italy
All Lead & Back Vocals, Composed & Produced, Recorded & Performed, Mixed & Mastered by REKHA Iyern [Fe] in CANADA

Fix Ya

YouTube

FIX YA | Music/Eclectronix | Music & Lyrics/REKHA - IYERN [Fe] | ROCK | April 23rd/2020 | YT Video

Demo Tracks fps 913

Hot Summer Gift

Inspired by creatures and plants on, in and above the earth

Things of the Earth

More on Bandcamp

Things Of The Earth

Watch animated version here : https://youtu.be/3g7IO_4msW0
Music & Graphics by Arnaud Le Coq

Elegy n°1

Vocals, rhythm guitar, lead guitar, bass- Nic
Drums- Monkey Blood Lowdown
Lead Guitar-Admiral Krank 

Lyrics: Christina Rossetti, Nic
Music: The Monomentals

Greatest Hits

People are Food

People Are Food

Silent Heart

Blue Z

things just happen
things just happen until
the end of the year

naviarhaiku365: things just happen

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.

Things Of The Earth

Jim Lynch