How I Feel

Live Reflexion #024

Asedio

noxpox - Why Are They Afraid Of Freedom?

insignificant

Moon Tales (Instrumental)

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

24 3 17

Idiotic Robin - 13-4-2025

https://www.youtube.com/watch?v=QUzC-zcLtjk

Improvisation_049e

01 - Spitfire Audio - Ólafur Arnalds Stratus - Matrix - Rhythmic Waves
02 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Trumpet - Decay Swell
03 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Timpani Crescendo
04 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Cymbal Roll
05 - Spitfire Audio - Aperture Strings - Refractions - Tremolo
06 - UVI - FALCON - Attack EP88 - Space Roadelay
07 - Soundiron - Voice of Wind - Adey - Sustain vowel - Oo p
08 - Sonuscore - The Orchestra Complete - Flute Sustain - Violin 2 - Staccato - Viola - Staccato - Double Bass Staccato - Horn Sustain
09 - Spitfire Audio - Olafur Arnalds Stratus - Matrix - Looped Rhythms
10 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Tenor Trombone - Decay Swell
11 - Spitfire Audio - Symphonic Organ* - Full organ and 1 Others
12 - Spitfire Audio - Woodwind Evolutions - A simple Start
13 - Spitfire Audio - Spitfire Solo Strings - Violin [1st Desk] - Legato (findered) with Eventide - Blackhole Reverb - Nebula
14 - Spitfire Audio - Fragile String Evolutions
15 - Heavyocity - Intimate Textures - Texture Designer - Org Celli Combo 02
16 - Audio Imperia - Nucleus - Solo Oboe Legato
17 - Spitfire Audio - Tundra Atmos - Atmos

* : Rugby School Chapel Organ

Fragile Tales [Part 3]

Curly Compositions from a German Composer.

insignificant

Robert Knote

Recent comments

Anthony Cutrera Morales

Related tracks