want you to suffer
I want you to cry
I want you to hurt 
and here is why 

I want you to know 
what its feels  inside 
when all that you loved
 has withered and died

 I want you to learn 
the hard way the though 
because there is no other 
way that you can know

 I want you to hurt 
 like him her  and I    
I want you to cry        
 when you say good bye

you shouldn't play with hearts
 like playing cards
 picking up and dropping 
 when the game gets hard

I want you to feel
a little like me
when you hear the 
name of some one you cant see

now life is hard 
we hurt and cry
 when we wish all 
we  loved …....good bye 

we love love love then  good bye
we hurt hurt  hurt then we cry

learn

Experimenting again here with different divisions of strings. Why is getting the balance right so difficult? Part of the answer is that conductors (not composers) are the experts. They ensure, for example, that large numbers of divisions of second violins, avoid blasting smaller numbers of viola divisions into acoustic oblivion.

Small, medium or large orchestras plainly have very different numbers of divisions of the different string instruments. It is very complicated to get the balance right, to say the least. Conductors know how to handle all sorts of different orchestras (small, medium and large)...and therefore all sorts of different divisions, of all sorts of instruments.

The best way for composers to learn (from conductors) is to attend rehearsals of pieces made by famous composers. Making notes of everything the conductor says to the orchestra during rehearsals.

Gustav Mahler was a conductor who happened to compose in his spare time. Being a good conductor, in my opinion, is orders of magnitude more difficult than being a good composer. Controversially, I suggest good conductors should not be required (by the performance notes of a score), to adhere strictly to performance notes. Good conductors should be positively encouraged to interpret scores ad libitum.

Efforts were made in the above study to think about string divisions, in relation to other string divisions and piano. A technical study. Which became the first movement of my first piano concerto.

Piano Concerto No.1 (1st movement) Op.22

Meeting with Shyntwirl: artwork Shyntwirl

One of the most intriguing artists on soundcloud, not to say the most onearthly creature –( in a good way ) is Shyntwirl….

He contacted me so respectful and called me creatif…. Multiply that with a milion and you have the Shyntwirl world….

Main difference is, I feel the need to please, while he is really free; no bounderies.

We called each other brother and sister and made an attempt to collaboration. 

I tried to make something with what he sent me, and it began to live it’s own life…. So far away from the original… 

It was the purpose i would add my vocals, not words but sounds as experimental as Bjork, and several others he named.

I began so enthousiatic several lines of chanting and added synths, other rythmes , had to cut things away from the original and i remained with something that nothing had to do with the initial plan…

My little brother didn’t give up and sended more etc…He remixed etc. Several new ideas…
He posted FORGOTTEN wich I like! 

https://soundcloud.com/maishel-owo/shyntwirl-forgotten-prod?in=maishel-owo/sets/clouds-ep&si=55b9907e16744b7dbeb11faf852fdef3&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

But i had to finish my project - it’s not a real collab - I call it a tribute to Synthwirl.
I hope you enjoy: MEETING WITH SYNTHWIRL!

Meeting with shyntwirl (remastered)

I love Blade Runner!
I also think that Roy Batty was the true hero in the movie.
Made in Reason with Arturia Pigments.
Text to speech: voicegenerator.io

NeXus6

Speak to Me

A Lovers Dance

The two of you are dating and inseparable.  But after awhile you drift apart and split up.  Each goes their own way, both feeling happy but sometimes sad. They end up missing each other and get back together.

The piano track is from EZKeys2. The drums and bass tracks are from Band-in-a-Box using my sound sources. Via my breath and keyboard controllers I am playing the Swam tenor sax and flute.


A Lovers Dance

From disquiet's junto project 0697 (may 2025 https://llllllll.co/t/disquiet-junto-project-0697-first-third/) I took Coraline Ada Ehmke's track
https://soundcloud.com/coralineada/the-minotaurs-lament

I played electric bass guitar (a maple Fender Jazz Bass with a pick, a mute, and a crunchy amp) and added an Oberheim DMX for the Motorik groove.

Coraline’s original track was already quite full, but I was hearing a Motorik rhythm underneath and thought a full bass & drums section might work. I think I was wrong—the result feels too busy, and the most interesting parts are still in the bass arpeggiator sequence and its variations.
I re-recorded the live bass five times with different arrangements, but none really landed the way I hoped.
To improve the flow, I ended up cutting sections and shortening the piece. In the second half, I also used a filter to tone down the original synths and make space for the rhythm section.
I probably spent four times longer on this than on the other collabs this week—and still couldn’t get it where I wanted. That said, it was a fun experiment. Coraline’s infectious sequence was a pleasure to work with, and I think the final result is nice (Motorik groove was a good idea, right?).
But in the end, I don’t think it really provides a solid foundation for a third collaboration—so for me, it doesn’t quite fulfill the prompt.

@coralineada

Speak to Me

DC Ron

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