well-mastered dramatic track, Nice composition 👏

excellent friend, congratulations 👏👏👏

Strings in sad and melancholic sound narrative. Wonderful arrangement.

How severe, great tension.. I like Olivier Messiaen, Xenakis etc. But don’t know how to compose like them or you. How do you come up with this kind of music..? Difficult to control the structure without melody or tonality.

Here is  "The Drifter"
A collaboration between Dairv Dubbleyew, Jimmy Rivas and myself.
As I was out at sea with my boat earlier this summer a fast was boat heading against me, it was the police.
 They stopped me and asked me  if I had been drifting?
 I usually  turn of the engine to let the boat go drifting while fishing
So now I want to thank the police for giving me the title of the song
  I am The Drifter. SOS
Jimmy did the lyrics and also his awesome vocals
Dave added  his brilliant guitars . Beside he did the production with mixing and mastering
Jimmy Rivas: Vocal, vocal composition and lyrics @j-rivas
Dairv Dubbleyew: Mix and mastering, Electric guitars and guitar compositions, flute and drums @dairv-dubbleyew
Torbjørn Vagle: Instrumental composition, el piano, keyboards and bass
Photo: Torbjørn Vagle
Cover design: Dairv Dubbleyew

The Drifter (Jimmy Rivas, Dairv Dubbleyew and Torbjørn Vagle)

“Second Passacaglia for String Orchestra” was completed in July, 2022 in Fairview, TX. 

From the composer's publisher Creative Spirit OnLine: "Brooks’s Second Passacaglia unfolds broodingly over a 17-bar, slowly moving bass line in cellos and basses, while the variations above increase in movement and intensity until finally arriving at a subdued and haunting final cadence."

The work is in one movement. Performance time is about 10 minutes. 
Printed and electronic scores and parts are available from www.CreativeSpiritOnline.com
A virtual recording of this work is posted on www.soundcloud.com/robert-john-brooks.

Performance notes:
•	Tempo, expression, and dynamic markings should be strictly observed.
•	There is no key signature. Accidentals apply to the end of the measure or to the note or notes tied over the measure, and only to notes of the same pitch class, in the same octave.
•	Hairpin pairs (e.g.: mp <>, mf ><) indicate a temporary volume change of one dynamic level.
•	Passages marked  fff  or ppp  indicate playing as loudly and as quietly as possible, respectively.
•	Double-bass “C-extension” is required.

Contact information: 
Email: robtjbrooks@yahoo.com 
Web: www.soundcloud.com/robert-john-brooks
Web: www.CreativeSpiritOnline.com

View/Purchase Score

Second Passacaglia for String Orchestra

Hi everyone,
I present you the second track "UNTIL" from the EP entitled "UP UNTIL THEN", composed and performed on piano by Anastasiya Ihnatovich, arranged, orchestrated, mixed and mastered by Franck Ancelin.
I hope you will appreciate this collaborative work.

Original track:
https://soundcloud.com/anastasiya-ihnatovich/until

I thank you for your listening and your possible comments.

Musically,
Anastasiya and Franck

2 UNTIL By Anastasiya Ihnatovich Orchestration By Franck Ancelin

Hello… so have you ever noticed certain things about yourself that never change? This song, ‘Just Like I Always Do’ is about that very thing. I found myself  outside the other day, playing with rivulets of snow melt. Making channels with a rake, for the water to run down and I laughed… my feet were soaking wet and I was having a grand old time. Reminded me of a time in kindergarten, when I arrived late to school, soaked to the bone, as I was playing in the rain along the way. So that playful side of me has not changed at all. I also noticed, like flowing water, how vital it is for me to keep moving. A fluidity when it comes to living and learning about life. Recently, singing has been like that for me. Bear with me on this. A little backstory: As a kid, I had a brief stint in my middle school choir. I did not want to join the choir, that’s for sure. The music teacher had picked us out, after brief singing auditions. After our first performance, my mother, God rest her soul, told me I did not have to go back to choir anymore, if I did not want to. Out of the 50 kids on stage, I was the only one not singing. I just looked down so no one could see my mouth… except my eagle-eyed mom. Simple as that, I was done with it. There were other things I wanted to do as a precociously rebellious kid, running around the neighborhood, as it were. Now, half a century later, I have been learning to sing on my own. It has not been easy uncovering that latent voice of mine. Looking back, sometimes I wish I had stuck with it as a kid. So about a decade or so ago, this dude I worked with asked me if I’d show him some stuff on guitar. His mom was a musician and music teacher and he grew up with music in his life. He was always singing and playing guitar. As we hung out, he noticed I never sang and asked me why. After basically dodging his question, he told me the only thing stopping me from singing was me. Talk about a hard lesson to swallow. So now, bringing us up to speed, I had some fun exploring my nascent singing voice on this song. The image is of me and Garnet running the hills in early Spring. Hope you like it and thanks for listening. Take care, Mark

Lammbone's Album

Just Like I Always Do

Some notes loosely devoted to the idea of eternal recurrence and return. Jazz rock fusion instrumental.

Cosmic Deja Vu

X-Cats rule the world

Cast of Characters:
mistermark-- @user-432503709 -- Mark--sax (VST), organ, tremolo guitar chords (synth), harmonica, composition, production, mix
Mysterious Decibel--@themysteriousdecibel --MD—lyrics and primary vocals
TexMex Shaman–@texmex-shaman –Stephen– second electric guitar solo, and mastering
J.J. Terrell–@j-j-terrell –piano and electric piano
K2 and the Three [and the Four]--@k2andthe3, @k2-kara -–Ken–drums and percussion
Entheogenic Psychonaught (Josh Clary)–@josh-clary-1 –-four string fretless bass, first electric guitar solo, rhythm guitar comping 

This is a song started when Mark came up with its architecture, recorded in a  slower, more laid back version on his own. However, he wanted a more souped up version with solos in turns. 

So, he turned to The Eclectic Collective to fill in the pieces. He originally had solos in all the parts which he laid down on the keys, and he had some lyrics, too. However, once he heard The Mysterious Decibel's excellent lyrics and vocals, the song totally changed the direction and the vibe, for the stellar. 

But MD didn't start the whole thing. As happens sometimes, even without Tez on this one, we still needed to clear out some space to let everyone have their say. So, Mark went in and lengthened the song mechanically. Once we had a final form, Ken, as always, came up with the foundation for the song, allowing Josh to add his version of Mark's bass line. 

Then, after MD gave us the vocals to form the song, we got down to adding the solos. JJ first added his thrilling opening piano solo, as well as the electric piano solo right after the first verse, which Mark is also playing a VST sax solo in, as well. Then Josh added his guitar solo, which is the first of the two, with a very clean tone. Right after that, Stephen added his fiery solo, which follows right after with a more overdriven tone. Finally, Mark stepped back in and added his killer harp solo at the end. Of course, it needed to be mixed well, too, so we turned to Stephen for that important role, once again, which he fulfilled expertly.  
 

This past Tuesday, we released a fun little series of interviews over a compilation of some of our favorite musical moments. If you want to hear our voices and some of our thoughts about music, check it out. I realize it's a big ask at twenty minutes, but you might really enjoy it, especially if you follow us, and have been for a while. It's a celebration of all of our work over the past almost year together in various forms. This song was supposed to be a showcase of all of our skills, except Tez isn't in on this one. He'll be on the next one, though, for sure.
  We hope you enjoy this jazzier side of the EC as much as we enjoyed making it. MD's lyrics are about a psycho killer artist who hides clues about his murders in his paintings. 
Original Lyrics by The Mysterious Decibel:

Some might say he's crafty and planned.
With a shade of black and a brush in his hand
Some might say the world is his oyster
But no Pearl lays inside just a conjuring blur

He'll paint you a murderous scene
With the blending of  sin all between pigments of green
He's a shady fella Who hides behind the canvas!
I spy something with my little eye
This art might show just where he died

Will you find it?
The secret
Some freak shit
are you so sure you'll really wanna Keep it ?
The secret
Are you so sure you'll really wanna keep it?
Ahhh a little secret
Are you so sure you'll really wanna keep it?
It'll haunt your mind like it does him too
He's a swifty one he'll come for you!
The secret
The secret
The secret
Are you so sure you'll really wanna keep it?

I spy something with my little eye
This art might show just where he died

His art might show
might show
might show
just where he died

A Brush With Death -  (EclecticCollective) w/ special guest mistermark

Moon-Song

Setting of the poem Noche Oscura by St. John of the Cross, written about 1578. This is a corrected version of my 1976 piece, completed in March 2024 and performed through NotePerformer software.

NOCHE OSCURA

I wanted to write a nice nocturne for piano, actually started with a grand staff, but it quickly morphed into a string piece.  It's really just 3-part harmony, with some octav doubling for the second half.

nocturne

Distant Shore - classical piano and cello music

Thanks for visiting. 
What's new:  I have completed my violin sonata. It is posted first in line to your left.  My new symphony, "Symphony for Chamber Orchestra," is posted and waiting for you.  rjb

Scores and parts for many of my works are available from my publisher Creative Spirit Music Publications. Go to  https://www.creativespiritonline.com and select "Robert John Brooks." There, you can also follow the score while listening to a recording.

My music is fully notated and is intended for live performance by live musicians.

After completing my doctorate in composition in 1979 from UNT, I took 30 years off from composing to join the computer software revolution as a software engineer.  In 2010 I began composing again and have not stopped. So, I find myself beginning (restarting?) a composition career rather late in life...but that's OK.  Most of the works posted here were written since 2010. 

Thanks for visiting.

Second Passacaglia for String Orchestra

Robert John Brooks, Composer

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