Orch248 - Common Ark

http://driverlessbus.bandcamp.com/music

'Driverless Bus.'

A 'Bus', No driver!
You, looking out the window?  

you see something nice, maybe beautiful flowers, blue sky and you shout up the bus... "Hay Driver" "Lets stop here and have a picnic" but the bus doesn't stop. Then the journey takes you to a smelly dark place. Burning rubbish, shopping trolley in the river, maybe an atomic waste ground? you shout up the bus..."Hay Driver" "Hurry up! don't like it here, go fast" the bus neither goes fast to get by nasty things or slows down for nice things. There isn't a driver, life is a driverless bus   ...maybe?

Architect, artist, assistant professor at the Institute of Architecture of the University of Zielona Góra.
Simple poetic works for piano are original compositions, partly improvised.
I play stage piano Yamaha SC-YC88,  and CLP 635, the songs are raw, I don't process them in any way.
I invite you to listen. I will be grateful for promoting my music.
Alice

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:

⭐Music producer, ELECTRONIC MUSIC and DJ since 2008,⭐ living in Russia...⭐ Music lifts the mood and pleases the soul in life!!!⭐
VK  -   https://vk.com/region136
MAIL - p.k.v.rus.36@mail.ru

Free music!! 
Open for all kinds of collaborations!!

>> 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
------------------------------------------
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.

Orch248 - Common Ark

Lars Karge