How fun to see a simple idea used to make something completely new and interesting. Excellent composition!

Nice suite... a fine collection of individuals !

Mixed for Lillithe - 19.09.23

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.

I got the idea for this song from ñaupa here on Soundcloud to juxtapose the an all black key scale with an all white keys scale, and this is the result

The Tide is Full

Winter Descends

Vocals by Maria Duque;
www.fiverr.com/marialej22

Genres;
#Electronic
#Pop

Also available on;
https://hega.bandcamp.com/album/maria-duque-jeroen-huizenga-2

Purple Fade (vocals by Maria Duque)

great enough; the vocals of this track https://soundcloud.com/ipg1/purple-microdot-the-allure-pt2 available as open collab - so I could not resist & I really recommend to read description and lyrics in the original version by IPG1 aka Lou aka Ian Greaves ! I hope my version makes sense, kind of combi of rap, hiphop and jazz energy !
photo: Tomáš Petz, unsplash

Purple Microdots The Allure Pt. 2 // vocals by IPG1 // remix

Video available:  https://youtu.be/Y7wkppOg7GU 

Now that some rich crackpots have paid $600,000 for Nyan Cat's NFT, there's no questioning the legitimacy of the title of a timeless masterpiece of Art :D Hence a little tribute...

A présent que certains cinglés friqués ont payé 600 000 $ pour le NFT du Nyan Cat, on ne peut plus dicuter la légitimité de titre de chef-d'oeuvre intemporel de l'Art :D D'où petit morceau hommage...

Nyan Cat (short variations)

Compose and lyrics wrote for a woman is now same as kidnapped into a Menthal Hospital.. They do a mistake she get wrong medicine and she quiet lost brain.... In Honor of this musician have been quiet kill because "the control"

Little by Little

My Little Born/My Little

Blade Rumor RAM Doubler

For My Beautiful Beautiful Daughters Thank Ypu for Your Purity Light & LOVE ..
Bless You Both my Brave Brave Girls

I Miss..

Orizzonti e Mare

for the fallen (for they have risen) #frawstakwapella 120bpm…

Survivin'

Survivin' -With AnandaTuk

Farewell kiss

Remix of this track many people here liked.
thank you for all your support !
I made the picture using javascript and svg on a simple html page.

Paradoxe D'Olbers (augmented)

Better feat. Patricia Edwards
Vocals and Lyrics :
Patricia Edwards
https://soundcloud.com/patriciaedwards
https://www.looperman.com/acapellas/detail/14815/better-by-patriciaedwards-72bpm-jazz-acapella
Paploviante:
E-Bass, Music Composing, Mix and Mastering
Picture from Mallorca Holidays Paploviante

Better feat. Patricia Edwards - Paploviante Music

“Maria”

Art work: AliceKeyStudio via Pixabay

いつか
とおい
むかし
ふたり
しまい
うたう
まりあ

“Decades ago, as a child, I learnt this song “Ave Maria” by listening to my two older sisters sing it.”　An old aunt told me this.

Maria

U GoT - Germany (Hace Mucho Calor!)

Clip : https://www.youtube.com/watch?v=ssYoXrr_DeU&t=6s

U GoT - Germany (Original Mix)

(dedicated to all fellow targets and victims of non-consensual mind control experiments and ritual satanic abuse...you are not alone!)


hey there...you're not alone,
you are not a,
you are not alone

(i/you)

you put your hands in the air,
sip the sun like a tree,
temple of nature,
she's so beautiful angry,

so come take a sip of the storm!
dance in the wrath of the rain,
sometimes our branches must break,
before we blossom again,

are you afraid to get wet?
cause you know,
 i really,
i wish you would,

i wish you would my wishing well...

hey there... you are not alone,
you are not a,
you are not alone...now,

these days I call doing my best:
"bleeding beautifully with flair and finesse",
cause DAMN...they're microwaving my head,
it's quite a climb now just  to get out of bed,

human door knobs,
have been taking my turns,
my hurt to murmur,
 and radiation burns,
cause OWWW...my life's a cage in a lab,
and everyone I love has taken a stab,

hey there...you're not alone,
you are not a,
you are not alone

(i/you)

you put your hands in the air,
sip the sun like a tree,
temple of nature,
she's so beautiful angry,

so come take a sip of the storm!
dance in the wrath of the rain,
sometimes our branches must break,
before we blossom again,

are you afraid to get wet?
cause you know,
 i really,
i wish you would,

i wish you would my wishing well...

Wishing Well

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.

Winter Descends

Jim Lynch

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