a work by Marco Lucchi remixed by M.Nomized

MARCO LUCCHI - Drone In C (libera mix) - remixed by M.Nomized

experimental musician/soundmaker from Apuliae
Born in 1978

Welcome here to everyone.

I hope what you'll hear inspires you.

For your growth or fall
Through the cathartic world of sounds 
that I try to propose. 

A test area 

A search for meaning 
Of this passage for ours.

Sound as a primordial frequency
Before any acquired significance

If what you hear resonates with your tuning fork
A like and a repost would be of great support.

May your journey be pleasant and constructive
in this sea of instants called life

The eternity of our days.



No AI is used in the making of my music or art. Creating something from nothing is one of the true joys of life.

Sometimes… is passionate about photography, music is just a substitute, that's why he creates "landscapes and environments" with modular synthesizers.

Bogdan-N. Blajevschi, aka "Sometimes…" has a Bachelor of Science in Audio Engineering. His bachelor's thesis researches: sound, sound synthesis and the architecture of modular synthesizers.
During his studies in Berlin he also discovered the beauty of pentatonic scales.
With Polish roots but born and raised between the Black Sea and Dracula's Castle, Bogdan "travels" around the world in search of new sounds and new motifs for his audio and photographic experiments.

All rights reserved.

P.S.
For a better listening experience, turn off the lights (if you can) and let your imagination flow. 
In the dark, music always has other "colors"!

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.

collaborations, shared projects, ideas ..

http://marcolucchi.bandcamp.com/

https://musichevirtuali.blogspot.com/

www.musichevirtuali.org

https://twitter.com/musichevirtuali

https://www.facebook.com/pages/orchestra-eclettica-e-sincretista/111790807863?fref=ts

PIANO SOLO / ELECTRONICS / TAPE MUSIC / ENSEMBLES

One of these nights when I was composing music, I took a break, stepped on the balcony. From this place, you can see the top of the mountains that surrounding my village, a thousand meters high above a lake. Sometimes you can see the clouds coming out of the forest.
Forming themselves, rising up from the gorges, reminding me Manara's jungle forest.
I was looking at these shapes, moving, growing and floating up to me. My body slowly gets erased by all that waterdust.
When I got back in my room, I was surprised to see thousands of reflects, moving very slowly, shining like light crystals.
They composed an entire living web, made of light and sounds, around every simple thing in the space.
With my body slowly erased by all that silent water dust.
So, I began to play music, with a cloud in my room...

tristeza poente é um projeto musical criado em 2018 por noite abissal a partir da necessidade da artista em produzir um espaço de composição e experimentação auto terapêutico.
o nome do projeto faz referência ao desejo de permitir que assim como o sol, a tristeza se ponha e novas percepções e sentimentos sobre a vida possam surgir.

D'autres pièces finalisées ou non, mes mises à jour et mes remerciements.
Téléchargement libre pour collaboration future !
Other pieces finalized or not, my updates and my thanks.
Free download for future collaboration!

Our music is made in the studio but in an organic way, based on improvisation, concentration and the artisanal composition of each track, without using artificial intelligence. It is not our goal to be a mass product, to have thousands of likes or false reproductions, but to reach a community of creators who believe that music can be made honestly from simple human creativity. 
Artificially created music is vulgarizing it, turning it into a worthless product, only destined to fill the lives of generations who in the end will not know the magic of its creation or its execution with cheap background noise. 
FFA are not an example of anything, but we believe that we should warn about the direction that technology is taking with respect to art. We respect all opinions and surely history will bury us in the past, but this is our position.

I am a poet & musician. Here, you can find solo pieces (poetry) and works by Spirit Turnpike. I play with mixes of voice, basses, guitar, samples, field recordings, and electronic music. 



I have been named New York State Beat Poet Laureate (2024-2026) by the National Beat Poetry Foundation.

I deeply appreciate the collaborations I have encountered across different platforms, as building music together is liberation.

Collaborations: New Haven Improvisers Collective, The Arawax, Global Nuisance,  Salon Du Monde Fremont (internet TV), Disquiet Junto, Marco Lucchi (Orchestra Eclettica e Sincretista). 

Publications: 

Website of The Bread is Rising Poetry Collective
www.thebreadisrising.org

Musical Leadership, a blog on music & arts: almartinez.substack.com

MARCO LUCCHI - Drone In C (libera mix) - remixed by M.Nomized

Orchestra Eclettica Sincretista