The 3rd movement of the 15th String Quartet (2022).
https://www.youtube.com/watch?v=mWCalcmK24U&list=RDGMEMhKbLH6Dh_axG82uN4XOLgg&start_radio=1&rv=GmLjJPlzmdM

Pawel Strzelecki: 3. Slow [String Quartet No. 15 "Hommage to Górecki" (2022)].

malolo...  es mi alias desde los 2000 que fueron buenos,  empezé como dj con unos equipos analógicos de por entonces unos denon dns 5000 y dns 1000 y una ecler nuo 2, antes tuve unos Géminis ,pinchaba techno y lo sigo haciendo con gusto, tendré unos 400 cds, por entonces me dio la pica con un Acer, un portátil que me compré en introducirme en la producción musical, me hice de ableton y varios sintetizadores vst como fm8 o sipnase audio Dune entre otros y empecé ha aprender, empecé ha comprar revistas como future music y computer music y comencé ha asimilar técnicas ,ya lo dice el refrán la práctica hizo al maestro, con ableton hice unos 300 temas el sonido propio que intente plasmar era un sonido viscoso, sucio y lleno de guitarras eléctricas pero no renege de sonidos más suaves y agradables tambien,me compré un akai mpk y hice unos set live con la montonera de samples de mi colección, al paso de los años sentía que tenía que sacar un sonido más puro y por entonces hablaban muy bien en una red social en español para productores musicales donde hice muy buenos amigos que aún conservo que se llamaba  sonicspace, de Apple y sus aplicaciones, así que me compré un iPad con muchas apps y empecé a depurar un sonido analógico experimental táctil grabado y mezclado en tiempo real un sonido purista,  electrónica creo que bien definida y personal... un saludo ha todo aquél que vea mi biografía y escuché mi trabajo, (gracias amigos)

Richard Hellgren is a Swedish composer and multi-instrumentalist, residing on the island of Gotland in the Baltic Sea. His music is known for its minimalistic and contemplative character, often touching upon themes of melancholy and poetry. Richard's unique style of composition stems from his special relationship with his old Malmsjö upright piano, which he uses to create most of his recordings.
As a building architect, Richard draws inspiration from the creative process of composing music. He believes that both architecture and music revolve around the concept of space and silence, respectively. In his own words, "Architecture is about encompassing space and music is about encompassing silence!"
Richard's music has been praised by notable sources, with one reviewer describing his work as "hauntingly beautiful, with a melancholic edge that lingers long after the last note has played." His first EP, Ainigma, was released on the New York label Sonder House in June 2019, followed by his second release, Felt Transience, on the same label in October 25.
Richard Hellgren's unique approach to composition and his ability to evoke emotions through his music make him a rising star in the industry. His work is not to be missed.

Working on some other material

I'm a 36 year old, man, playing guitar, living in MA. Making metal riffs!

Got all my tracks from Demo 1 as playthroughs on Instagram (got 1st track from Demo 2 as well)

I don't know how to use music recording software (I just make my riffs at home and go to the studio to get them recorded) but if you want to collaborate just let me know and we can try to work something out

Polish Composer (M.A., 2002, "F. Chopin" Academy of Music in Warsaw,  Prof. Zbigniew Baginski's class), music theorist (M.A., 2000, "F. Chopin" Academy of Music in Warsaw, under Prof. Maria Piotrowska), musicologist (Ph.D., 2005, University of Warsaw, under Prof. Zbigniew Skowron), researcher, lecturer.
So far he has written 127 pieces: 12 symphonies (2017-2024), 3 symphonic poems (2001-2011), 4 concertos with orchestra (organ, piano, two pianos, flute, 2002-2025), 22 string quartets (2001-2025), 17 sonatas for different solo instruments with piano (violin, cello, oboe, trombone, etc.), chamber music as Piano Trio (1998), Piano Quartet (2021), Piano Quintet (2003), String Trio (2021), numerous songs for voice and piano, sacred works, e.g. Mass for soloists, choir, organ and orchestra (2002, rev. 2024), and electronic music.  
The stylistic and technical parameters describes the text below:
https://pawelstrzelecki.wixsite.com/music
The author of the crucial, first and original book (used as academic manual and present in many libraries) on "New Romanticism" in Polish music after 1975, containing interview of the author with Krzysztof Penderecki (2022, English Language Edition).
https://www.peterlang.com/document/1282565?fbclid=IwAR1Pm40flHnsqH07OsvXdXwV1ZwLeVLOmfrxkqe3wxL5rsJioluBL-2FQ9M#document-details-anchor
Polish edition (2006):
https://mi.pl/pl/p/Pawel-Strzelecki-Nowy-romantyzm-w-tworczosci-kompozytorow-polskich-po-roku-1975/59

The book was quoted in: Andrea Bohlman: "Musical Solidarities. Political Action and Music in Late Twentieth-Century Poland". Oxford University Press, 2020, pp. 208, 266. The link to the quotation (p. 208):
https://books.google.pl/books?id=uNnBDwAAQBAJ&pg=PA208&dq=bohlman+nowy+romantyzm&hl=en&sa=X&ved=2ahUKEwjoyL-x-Lf4AhXOk4sKHUWMChUQ6AF6BAgEEAI#v=onepage&q=bohlman%20nowy%20romantyzm&f=false

Please no offers for more followers, listeners or other advertising. I don't pay for advertising!

Jean-Marc is a composer, sound designer, and pianist based in NYC.

For any inquiries, please contact:
jmymusicmail@gmail.com

Ionut Mirel Udrea (Member Of APRA/AMCOS) is a music composer, piano player and music producer based in Sydney - Australia. 
Ionut Mirel Udrea composes emotive piano-based instrumental music.

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.

 www.bookmatchstudio.co.uk producer Tim Bond, And The Angels Cry got to Number 1 for two weeks running. Broken beyond Repair in top 10 singles charts for many weeks, now it's in the Top 100 charts, uk talk show top 100 charts. currently at number 42. please vote if you can. 

Erris You tube
Erris Ditto
Erris Spotify
all other platforms. 
Bernice Walsh on Face Book. 


Pawel Strzelecki: 3. Slow [String Quartet No. 15 "Hommage to Górecki" (2022)].

Pawel Strzelecki, Ph.D.