Edmono: Follow the Light

Part of a work for String Quartet and Bassoon.  Each part is based on and named after a group of scales taken from Nicolas Slonimsky's book "Thesaurus of Scales and Melodic Patterns." This book has been used by Frank Zappa  and John Coltrane, among others.

Rhapsody for String Quartet and Bassoon

Whole Tone

Version 1
Homage to Ronnie Laws, Grover, Maceo Parker, Brecker Bros and the many influences from that era...
Andy McLean: Yamaha Electronic Wind Instrument, Keyboards, Bass, Drum programming

That Groove

THE WORLD STANDS WITH THE PEOPLE OF UKRAINE

OXFORD DICTIONARY: gam·bit      a device, action, or opening remark, typically one entailing a degree of risk, that is calculated to gain an advantage

To help the people of Ukraine, consider making a donation to:

UNICEF
https://www.unicefusa.org/stories/unicef-children-are-bearing-brunt-intensifying-crisis-ukraine/39481?utm_content=Ukraine1&ms=cpc_dig_2021_Ukraine1_20210801_google_Ukraine1_delve_None&initialms=cpc_dig_2020_Ukraine1_20210801_google_Ukraine1_delve_None&gclid=CjwKCAiAgvKQBhBbEiwAaPQw3GuIsOMcWfIVLJR1az0-QuE9UIIEN670oaVwpAUJ6aj9OOF5Dr51vRoCeQ4QAvD_BwE

Save the Children
https://www.savethechildren.org/us/where-we-work/ukraine?cid=Paid_Search%3AGoogle_Paid%3AEmer_Ukraine%3ANonbrand%3A022422&s_kwcid=AL%219048%213%21584222768602%21p%21%21g%21%21donate+ukraine&gclsrc=aw.ds&&gclid=CjwKCAiAgvKQBhBbEiwAaPQw3D1A0mqKNRSLiPElRtzi7AjolS0t6AfjEazv-B_2JYeEtfPBVP6neBoCxFkQAvD_BwE

International Rescue Committee
https://help.rescue.org/donate/ukraine-acq?ms=gs_ppc_fy22_ukraine_mmus_feb&initialms=gs_ppc_fy22_ukraine_mmus_feb&gclid=CjwKCAiAgvKQBhBbEiwAaPQw3FHHxWuNp47vNj0-hfFoy-MGkH_QKR_UaQklaDPbGrJe5w-spKrNuBoCOOUQAvD_BwE

Amnesty International
https://donate.amnestyusa.org/page/100216/donate/1?ea.tracking.id=MRPaidSearchFR2022&supporter.appealCode=W22XXADEVR0P&en_og_source=W22XXADEVR0P&gclid=CjwKCAiAgvKQBhBbEiwAaPQw3By1-r-iYRyU5F0K7qJJxUKEFKZSLi5Z-Lg-oMnpr4zhb3qpuX6uSBoCp1sQAvD_BwE&gclsrc=aw.ds

Putin's Gambit

There is so much going on in our world today and we have no idea how it is going to fall. It was hard enough just thinking about America and how close we are to losing our way of life because we weren't paying enough attention to what our so-called leaders were doing to us. But now it encompasses so much more of the world and so many more people are hurting - losing more than just their way of life. They are losing family and friends, their homes, their culture and are fleeing for their lives. I can do nothing to help them. But they have shown us what it means to fight for your country. Maybe ignorant Americans can learn something from them instead of wrapping themselves in silly flag costumes and chanting "Lock her up." How can there be a sense of pride in our country when half of us wants to stop teachers from from educating students about the reality of our history because white students might be uncomfortable learning about how racist we have been. We have plenty of reasons to feel sorrow but we don't have time to sit and cry about it.

No Time For Sorrow

Short version, experimental improv
Andy McLean: Yamaha WX5 Wind Controller, production

Rockit

A cover of this tune originally played by Ned Landry, famous fiddler from New Brunswick Canada.  (see: https://www.youtube.com/watch?v=0lsqlU3ar1g )with Jore, Hilary and Alan playing in this version.

This is a repost of earlier posting see: https://soundcloud.com/jorma-heikkil/woodcutters-reel-collaboration-band
I applied the mastering gizmo from soundcloud on the track to see how it changes things.

Hilary Dirlam @hilary-dirlam :  Banjo
Jore  Heikkilä @jorma-heikkil :  bozouki, bass, mix
Alan Ingall @newshoe :  Accordion

Woodcutter Reel ( w/Hilary Dirlam & Jore's Folk Orch)

Out of the Box May 2022
How does it feel?

Welcome To The Ghost Chair

Belle on flute
ocean on ocean sounds
https://www.youtube.com/watch?v=ik23YWBJo30

I'm goin' down to the ocean right now
Headin' on down's like paradise
The sun hoverin' over the ocean
Waves that rumble upon the shore
Timeless tales of the sea

Reminiscing all the way
You don't need apologies
You can do most anything you want and it's ok

Anywhere you wanna go
You can decide the destination
Wash upon the shore
The wave around the bend that follows

ocean song

ペンギンが砂浜を歩いている姿を連想して作曲しました！！

thank you for listening！！

DAW: Cubase pro 12

penguins walk

Composed & produced by :
Chivicke Home-Studio/2020
image: Pinterest

Caribe

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.

Whole Tone

Jim Lynch

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Fred Pie

Karin-Maria Brunner

pedro duarte

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