the heart of winter
Thanks to Francesco(@francescocartocci ) for the inspiration and for the gorgeous guitar playing.
Our other collaborations:
@soundcloud.com/rosindust/sets/grazie-francesco

initial digital idea (video sketch)
https://youtube.com/shorts/ErjY15S-tYU?si=lupDHa8xz8s_38-c

il cuore dell'inverno  with Francesco Cartocci

One theme , 4 different versions. With the huge help from my mate Wonder Georg !

The 4 Colors Pen w/ Georg Boehme

My friend JJ Terrell reminded me of Piano Day, so I decided to join in the celebration with two humble piano themes that I dug up from my earlier recordings. Unfortunately, I didn't dedicate enough time to the piano and I regret that.

Two piano miniatures (Piano Day March 29 2025)

Great EWI Breath Controller Cello Jam by Jörg: https://soundcloud.com/joerxworx

The Next Level (Remix Cello Jam)

Voici une version solo du morceau 'Rosewood'
Aussi disponible sur Bandcamp : https://matzizrecords.bandcamp.com/album/rosewood

Vous trouverez également une version alternative en collaboration avec l'excellent Jörg S ( joerxworx ) au sax que nous sommes très heureux de vous présenter.

Lien vers son profil : https://soundcloud.com/joerxworx
Lien vers la version en collab : https://soundcloud.com/joerxworx/rosewood-2

Impatient d'avoir vos retour ❤

Rosewood - Solo version - (Collaborative alternative version with Jörg S on Sax in description)

Writer : Gerry Goffin \ Composer : Michael Masser \ ISWC : T-802.082.764-0 
Publisher : Prince Street Music - Lauren Wesey Music - Universal Music Publishing
Released : August 13 1985
__________________________________________________________________

While waiting for my next cover... I found this cover from 30 years ago at the bottom of my drawers... I had the voice and the breath!...😊 But that was before! 😄 Now you have to lower it at least a tone or even two.
__________________________________________________________________

I love this song (I'm a Whitney Houston fan); it's thanks to this song that made her famous worldwide. She had a unique tone, a crystal clear voice.
--------------------------------------------------------------------------------------------------------------

Arrangement : Phong
Vocal : Anh
Album : 1995
__________________________________________________________________

Saving All My Love For You - Cover (Whitney Houston)

Dans notre bar    (Translated under the French text )

Texte :        Josette LéonardCocquempot
Chant :        Karine
Musique  :  Alain Illos

Dans notre bar , je t'attendais
Yeux charbonneux , bouche cerise , 
les jambes gainées de soie grise , 
je t'attendais . 

Dans notre bar je t'attendais
Indifférente à ce garçon 
et à son regard polisson , 
je te guettais .

Anxieuse et un peu fébrile
Je pensais à ces turbulences
À ces nuages imbéciles
Qui menaçaient notre romance

Mai découvrait    ses blancs lilas
L’air embaumait le muguet tendre
Le garçon était toujours là
Et toi tu te faisais attendre .

Le temps passait imperturbable
Et l’angoisse en moi s’installait
Le verdict était implacable
Ton amour s’en était allé .

Dans notre bar je t'attendais 
Yeux charbonneux , bouche cerise , 
les jambes gainées de soie grise , 
je t'attendais .  

 Je n’allais pas te supplier
Il me fallait baisser les armes
A travers un rideau de larmes 
Le garçon me souriait

In our Bar

In our bar , 
I was waiting for you
Smoky eyes , cherry mouth , 
legs sheathed in grey silk , 
I was waiting for you . 

In our bar, I was waiting for you
Indifferent to this boy 
and his polite look, 
I was watching for you.

Anxious and a little feverish
I thought of the turbulence
To those foolish clouds
That threatened our romance

May uncovered its white lilacs
The air was fragrant with tender lily of the valley
The boy was always there
And you kept waiting .

Time passed unperturbed
And anguish settled inside me
The verdict was implacable
Your love was gone.

In our bar I waited for you 
Smoky eyes, cherry mouth, 
legs sheathed in gray silk, 
I waited for you.  

 I wasn't going to beg you
I had to lower my weapons
Through a curtain of tears 
 The boy smiled at me

Dans notre bar avec Karine

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

My grandfather is very sick and in the hospital. The only way I know how to show I care is to write a song. Ergo, I present: "Coolest Man". A song for Geoff Newton.

Lyrics:

Pour out a glass for my grandfather,
Wise were his days and his eyes were like rays of light,
that stilled,
the time,
away.
Oh, my grandfather is,
the coolest man,
you ever did meet.

Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The 
Coolest Man You Ever Did Meet Yeah The
Coolest Man

Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The
Coolest Man You Ever Did Meet Yeah The
Coolest Man

Oh, yeah.

Composed, performed and mixed by Norsa.

Coolest Man

PHOBOS / Paploviante Open Collaboration Offer
Paploviante: E-Bass, Music, Composing, Arrangement, Mix and Mastering 
BPM 88
Free Download
Feel free to adding something !
If you publish it, you have to mention me in the description and title!

PHOBOS

Composition, arrangement & bass guitar: Antonio Val
Drums: Federico Gucciardo
Keyboards: Matt Robinson
Guitars: Tim Hesse & Leo Appleyard
Trombone: Rosie Turton
Trumpet & Flugelhorn: Sam Warner & Poppy Daniels
Audio Engineering: Giles Barrett
Videography: Dan Redding
Mastering: Cicely Balston

℗ 2025 Twelve O'Clock Club LTD

Current State Unknown (Live)

Je me nomme Mathieu Torres et je suis par ailleurs guitariste et compositeur dans différents projets artistiques
(La théorie des cordes / M'Z / Matziz / Zhorhann/ The Diogenes  ...)

Ici l'objectif est d'arpenter des terrains plus cosys, calmes et poétiques, jonglant entre old school et modernité, porté par un son de guitare rond, vivant, chaud, organique...