Photo by: Stablecog.com
(AI Generated)

Suleiman the Magnificent was the ruler of the Ottoman Empire in the 16th century. He was a conqueror, artist, poet, and lawgiver. 

This piece wanders back and forth between 4/4 and 6/8 a few times.

Suleiman The Magnificent

Cast of characters:
Jonathan Beckenstein — @jonathan_beckenstein — acoustic guitar, composition
Cgmaness – @user-419254289-15129531 – Chris – bass, vocals, and lyrics
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken–drums, percussion, and vocal harmonies
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – Roland FP-10 piano and Collings mandolin
TexMex Shaman– @texmex-shaman –Stephen– Tom Anderson custom T slide guitar, production, mix, and mastering
Mistermark-- @user-432503709 -- Mark – harmonica, edited fiddle samples, and jaw harp
This song began when Jonathan wrote it on his acoustic guitar several months ago with the intention of developing it into a larger song. When Josh approached him about doing a collaboration, Jonathan thought this one would fit the bill. I should say at this point how much we all admire Jonathan and enjoy his music. On the unlikely chance you aren't already familiar with his music, I suggest you go hop on his page and check it out. 
  All that to explain the level of excitement that ran through Eclectic Collective when Josh shared the project with the group. Chris was first to jump on it, coming up with his intricate bass line even before Ken added his moving drums, although they went back and forth a couple of times to create the rhythm section. Josh jumped on right after that part was complete, adding his mandolin and piano to the mix. Steven was next up, adding his howling slide throughout. Last, but certainly not least, Mark came up with the driving harmonica and twangy jaw harp, and the raspy fiddle, adding them all to complete the instruments. 
  At this point, we had a pretty good instrumental song on our hands. However, Chris decided to give it the extra kick by adding the vocals, the lyrics for which he wrote himself. Our multitalented drummer, Ken, added the vocal harmonies shortly after, too.
  Now that it was in the bag, we needed some production for it. So, we turned to Stephen, who mixed and mastered it in his alwasy expert fashion. 
  This song is a real treat for everyone in the band, as I mentioned earlie. We are all very grateful to Jonathan for sharing this song with us, and had a wonderful time helping bring it to life. We hope you enjoy listening to it as much as we enjoyed creating it.

Original lyrics by cgmaness:

 Come on now let's break a leg,
We've got it made in the shade.
One more day, go out and play.
I guarantee we've got it made.
Oh, we've got it made.
Happy to be with my friends today.
Fill up your drink whatever it may take.
I guarantee we've got it made.
~Gibberish~
Don't need a reason,
Or wait for the seasons to change.
That's what I claim.
Go out on this limb with me,
And realize, we've got it made.
We got it made in the shade.
Can't you see we got it made?
Oh, we've got it made.
Happy to be with my friends today.
Fill up your drink whatever it may take.
Can you believe that we've got it made?
Come on now let's shake a leg.
We've got it made in the shade.
Don't need a reason,
Or wait for the seasons to change.
That's what I claim.
Go out on this limb with me,
And realize, we've got it made

We Got It Made- Jonathan Beckenstein/ Eclectic Collective

Feel free to sample these tracks.
If you do, a little credit would be appreciated.
If the result still carries any of my original input, we could even list it as a collab.
Either way, I’d really love to hear what you make with it.
 If you want me to send stems or the Ableton project, DM me.

This is my Ableton Note Fun series. 
All tracks are short stories  made on an iPhone in Ableton Note, with all its limitations, constraints, quirks, and imperfections but also a complete freedom of expression.

Link to YouTube Short: https://youtube.com/shorts/jVTpMtdOG2A?si=S-sHz7D9LWv0i0Jw

Ableton Note Fun 12 105bpm E Hungarian Minor

Music: Little Man & Janne Hennie
Lyrics & Vocals: Janne Hennie
Instruments & Mix: Little Man

Lyrics:

I was so sure I had it all
And didn't need anything else to smile
But it was only an illusion of my joy
Dependence on others
Living like a toy..

Chorus:
I need to take control of my life
Find out what makes me smile and gives me pleasure
I can't let others decide my time
Create the joy in my own life..

It was so easy to lean on the others
And forget my own responsibility
For my own happiness and smile
I had to stop for a while
And think

What do I need? 
What makes me smile?
What gives me pleasure, and joy in my life..?
Can I do it all by myself?
Will I be able to do it well?

Chorus:
I need to take control of my life
Find out what makes me smile and gives me pleasure
I can't let others decide my time
Create the joy in my own life..

Can I do it all by myself?
Find the joy in my own life....

The Joy In My Own Life

Memoria

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

Remembering Jill.

F-Please Be Mine

good morning, honey

at the first version something went wrong with the percussion, so I made this version.

cure2

mindgames

My phone app seems to be unfollowing people, I refollow whenever I notice :/

"Our infinite sadness can only be cured by an infinite love."
Jorge M. Bergoglio
"Let us hurry to love people they depart so quickly"
Jan Twardowski

Lately I have been in love with Koala Sampler 💖



You are my best supporter if you listen to my tracks on any platform. If you willing to go further you can also support me by buying me a coffee or purchasing my tracks.
Thank you so much! Let me know if you enjoyed any tracks <3

☕ Buy Me a Coffee: coff.ee/marcin_man
🎵 Bandcamp: https://marcinkulik.bandcamp.com

https://open.spotify.com/artist/0OntEbq0VXc7kLsOz5pdn7?si=oMOhu2MlTXyK8SjzAqDlqw

https://www.youtube.com/@marcin_kulik

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Ableton Note Fun 12 105bpm E Hungarian Minor

Marcin-Man