le texte est excellent, l'accompagnement aussi bien sur, mais l'interet de ces morceaux à texte c'est que l'on s'attache à non pas juste écouter mais surtout entendre pour comprendre. de la philomusique sans prise de tete

Excellente composition. En écoutant "Sedition profonde", "Vacances de pouvoir" et "Methode Syllabique" (c'est la grève des accents ? :) je ressens un univers d'auteur/compositeur remarquable. Tes textes sont très originaux et mériteraient d'être mixés un peu plus en avant pour "Sedition profonde" et "Vacances de pouvoir". J'apprécie beaucoup cette originalité qui de démarque absolument. Bonne inspiration à venir.

A genre-defying track blending retro rock charm with disco dance energy. Channeling the infectious spirit and influences of bands like Deep Purple, The Stone Roses, and Jamiroquai - Red Light explores themes of love, trust, doubt, and what lies beyond the masks we wear.

Something More - EP

Red Light

Methode Syllabique - Prod Farberbeats

We are pleased to present track 2  from our new album, 'Haunting One Seven,' full album available on Bandcamp, we hope you’ll enjoy!

outstation.bandcamp.com/album/haunting-one-seven

Haunting One Seven

Free And Easy

Written by David Cooper and Ron Todd.

Performed and produced by David Cooper.

If you get the chance, please have a listen to the album Tapestry of Life by David Cooper and Ron Todd - Much appreciated.

https://www.youtube.com/playlist?list=OLAK5uy_m6BLKh2HtYqTGwVRHfA4F9dAWS9jzbG78

https://open.spotify.com/album/4PCR1ATYOxjTa14UyJtAYu

Lyrics by Ron Todd:

Castles In The Air

There's a rainbow round my heart tonight
And the stars in the sky seem extra bright
Feel I’m floating in the stratosphere
Another life a million miles from here

Chorus

Got a feeling that's breaking through
Since I first set my eyes on you
Took a walk on that yellow brick road
When I knew I’d found the motherload

The summer it came out today
when I saw you walk my way,
Up till then I was killing time,
Just another act in life's pantomime

Bridge 

You got it all babe,
You got the key,
To open my soul babe  
And take it all from me

Solo

They say there ain't castles in the air
But I’m sure I’ll find them hidden somewhere
Cos I know that fantasy is true
When I get to walking down the street with you

Been round the block again and again
Searching for something since way back when
But today I finally got that longed for win
When I saw those eyes and went and jumped right in

Chorus x 2

Castles In The Air (Cooper/Todd Collaboration)

Invisible Things 97 BPM

Never mind the cheese - this is the bollocks. The Recursives give The Undertone's classic some welly - captured live at The Hand pub in Llanrhaeadr-ym-Mochnant
Al - lead vocals and bass
Bri - backing vocals and tambourine
Neil - backing vocals and drums
Tez - guitar

Teenage Kicks -  The Recursives

Contemporary work for String Quartet, Woodwinds and Percussion.

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 Chamber Ensemble 2024

Suite For Chamber Ensemble 2024

Unpolished stones

Longest song I've ever written. This is a shorter version. I made the intro shorter on this take. I hope you enjoy this live take I did tonight. I haven't played this song in a very long time. It will always be a very special song. The memories shoot through my bones on this one. I'll never forget the moments of writing this, and all the times I played it. This is far from perfect but thanks so much for listening!:) 

Overpass

There's no words good enough, no melody pretty enough, but I will do my very best, baby you ended my quest, the search is done you're the only one

When you were born God knew you'd hold my hand, when I was born God knew I'd hold your hand, we'll never ever lose sight of our miracle, tunnel vision we're blocking all peripheral, forever running free in the shining sun

Without a doubt we are made for each other, our fingers fit so perfectly together, so happy they're between our knuckles, as we splash through years of past puddles, so much fun we've only just begun

Oh I don't know why you went through what you went through baby, and I don't know why I went through what I went through you saved me!

And here we are now, under this overpass, moving to the future in our eyes, with God's starry backdrop, oh I know He truly has a million flawless diamond skies, where time will stop, like it has right now, you're so beautiful, this feeling keeps growing more and more

I'm so deeply in love with you, I could never fully express, but for all of eternity, I'll try my very best, I'll try my very best

And we're still here, under this overpass, through the battles we've now won our prize, with God's golden backdrop, reflecting yellow topaz, igniting every detail in your eyes, again time stops, wow look at you now, even more beautiful, than just a few moments ago

I'm so deeply in love with you, I could never fully express, but for all of eternity, I'll try my very best, I'll try my very best!!!

Every song has to end, but baby we won't ever end, you've become my best friend, I just wanna hold you again

I love you

Oh, Oh!

All music written and recorded by
©Daniel Colter Valentine

Overpass (Original song live)

Chillout In Chaos

Vous êtes arrivés ici, là où se perdent les mots, dans le dédale des étranges traverses...

Methode Syllabique - Prod Farberbeats

Nyme

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