Wonderful mental images. Emotions constantly swirling in my mind and thoughts colliding in my head. I feel the mind and body wanting to move towards peace. This sound space begins to rise.

Beautiful and delicate...this is art‼️

Fairytale Forest Pt. 1

I changed the pic when I found this one. It represents exactly what I felt when making this track.

#edit May 3rd: I recommend to check the photo of Trump and Zelensky at the Vatican, a great photo and I hope that the recent  "mineral deal" will bring good things... Despite that, I keep the current pic with this track! 

#native #ambient #atmosphere #soundscape

Nimby

Y-Aprilis

Link to video where I tell the story behind the song : https://youtu.be/cilXaNM0IoI?si=IbBwc2wlxYTwoADH 


In Catholic school, whenever I misbehaved, the nuns used to pull my hair.
If I could go back in time and do it all again, I’d gab some clippers and shave my head bare.
I did eight years of hard time in Catholic school
I was never the kid who was considered cool
Eight straight years of Catholic School and somehow, I survived
Eight straight years of Catholic School.  Thank God I’m still alive  
My first-grade teacher was a nun, who if you’re penmanship was sloppy
She’d make you take all your books and stand there holding them in the back of the room.
She was like a witch except instead of a pointy hat she wore a habit
She carried a crucifix instead of broom.
I did eight years of hard time in Catholic School
I was never the kid who was considered cool
The cafeteria food tasted horrible, but I had to eat it
I had to wash it down with milk that was warm and sour
I’d try to fold my plate in half and throw it away, but the nuns would catch me and make me eat it
It’s like they had this secret food wasting detection superpower
Every year your birthday, it was customary for the kids in the recess yard,
To grab you and kick you and punch you for every year of your age.
I still have flashbacks of a girl with pointy hard black shoes kicking me really hard in my rib cage.
My fifth-grade teacher Sister Margaret she’d been teaching for way too long
It was time for her to retire but they let her teach another year and that was wrong
She had long grey whiskers growing out of her chin
She’d sit at her desk and trim them with of scissors and you sure as hell better not grin
She’d tell cautionary tales about innocent kids who got into cars strangers
She seemed to enjoy describing all the bloody graphic details of the danger.
I did eight years of hard time in Catholic school
I was never the kid who was considered cool
Eight straight years of Catholic School and somehow, I survived
Eight straight years of Catholic School.  Thank God I’m still alive

Catholic School

Falling In The  Sacred Vortex

impromptu 2025-04-18

https://chrisjunos.bandcamp.com/album/greek-drama

NECROPOLIS

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.

Suite for Woodwinds and Percussion No. 2

Serial lives, where patterns meet,
The unseen ties beneath our feet.
Coincidences, a coded rhyme,
Numbers align, in space and time.
Kammerer’s law, the world unfolds,
Through serial signs, the truth is told
A hat falls down, it spins, it rolls,
Caught by the wind, fate takes control.
In the café, a ticket's placed,
Numbers align, by chance, embraced.
Kammerer’s law, the world unfolds,
Through serial signs, the truth is told
Serial lives, where patterns meet,
The unseen ties beneath our feet.
Coincidences, a coded rhyme,
Numbers align, in space and time

Seriality

Seriality a Hidden Chance

Another summer track! Sharing here before I will release it on a decent album one day -I hope this year- with just as decent artwork. 

I don't know who this man is whose sample I used, but I love it! 

All I Ever Wanted Was You

Sounds of the soul call
Me home to "ugly beauty."*
White plus black makes red

*The title of classic composition by jazz giant Thelonious Monk

::

Original music & haiku poetry by Bob Weathers

Call Me Home


Loo(p)cy is a project by Italian multi-instrumentalist Lucia Caiazza. She began studying classical piano then she fell in love with  electric guitar, becoming a rock guitarist and singer during her teenage years and beyond.  During the  last 8 years, Loo(p)cy has released ten albums, alone and collaborating with other musucians.  Her style has evolved into electronics, noise, post rock with oniric soundscapes.

https://loopcy.bandcamp.com/

https://youtube.com/@luciacaiazza?si=xh1sUtf36R4m7Yrt

Falling In The Sacred Vortex

Loo(p)cy

Recent comments

Tuonela

The Shire Bairn Project

THE BOY

pedro duarte

Related tracks