Mood Board

Mood Exhibit is the sound expression outlet for Robert Salchak. Exploring the genres of electronic, post classical, world instrumental, and melody laced soundtrack styles. The music of ME has a strong emphasis on visual texture and emotion.

* I do not use AI in my compositions.

Trey W, known by his moniker Church of the Undecided (COtu), is a multifaceted instrumentalist, musician, and producer with roots tracing back to grade school. His journey began as a percussionist, which laid a strong foundation for his diverse musical explorations.

Now focused on electronic music production (without the aid of AI), COtu thrives on the boundless possibilities of sound. Combining synthesizers, a drum kit, and unconventional instruments, he creates a distinctive sonic palette that seamlessly blends electronic elements with organic textures. The result is a rich, immersive musical experience that captivates and engages squirrels and centipedes.

To share my music creations guided by the Great Spirit through the breath of the didgeridoo - the traditional instrument of Aboriginal people of Australia.

For many years I concentrated on painting, but meanwhile I come back to music more and more. I always like to connect the different mediums, also writing lyrics. I play several instruments with main instrument classical guitar. I'm no singer, but sometimes I like to send a message.
I enjoy your music on SC very much and often hear my likes. It's much better then the mainstream.  Many thanks to you all!
Hope, you enjoy my music too:)
You can buy some albums on Bandcamp.

Want to have a look at my paintings? Go on my website:

>> With Random at Adding and for hit the Joy > by the Curator and User too, to, and :-) by Lars the User ([&]) User > Remotecontrollercompliesdevice Cursor Play Die Macht der Lüge im Ding das sieht

Wenn es zusehr rumort mach rund mehr Euer 
Dilemma mit dem wie Ihr Euch ahnt zum 
Spiegel Verhalten zu zeigen, in Unterhaltung, wie in
Verhaltenem mit Mir, geb ich Eurer Ahnung diese Euch Mitteilung: 
Wenn Ihr Meinen Gebrauch von dem Sinnbild: 
Spiegel meint "zum Gebrauch Eures das Auslassen" von, 
"Überhöhter 
Eitelkeit im Schein" des Sein, mit dem Vergleich zu dem. 
Missstand der Welt an dem Messen,... des Meinigen aus der Unerkannten, 
sein kann,... Sich erhaben der Vorenthaltung das Ware. 
Um nun meist zur Bevorteiligung recht 
Gut im gerechtigkeitsfragen das, was Frage ist, 
die Mitteilung eine: 
Antwort:... zum Umdrehen 
beinhalten in der hallte, mir bisher diese. 
Gebrauch zu Bescheidenheit ein, und aus 
der Tage, im Sinnen, im Laufen aus Lust, 
innig Leben rufend die Leidenschaft und das Fragen.
Aber was mach ich mir Gedanken über die Lüge?! 
Das das damit Ich bin der somit nicht nur weiß nun,
zur Person wird, ist dem klar.

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.

In deepest connection:
Child of Nature: @childofnature
The Forest Army: @theforestarmy
Amanitalinda: @amanitalinda
Heidi K: @heidijks
Jeamland & Bolt: @jeamland-bolt
The Earth Love: @theearthlove
Jörg: @joerxworx
Martin: @m_ja

singer/songwriter from Yarra Valley, Australia.   Struggling as much with modern times as with times past.   I guess that makes me a chronic struggler.

Mood Board

Lars Karge