Light Of Day

Flowers

Your Party -Interlude
Production by Fire Ark Radio

Your Party -Interlude

Voice and acoustic guitar: David Dunham
Music composition, piano and electronic strings: Michele Ansani

Those recited by David are verses from one of the most famous poems and one of the greatest Italian poets of the 20th century (Eugenio Montale). They are taken from the collection entitled ‘Ossi di seppia’ ('The bones of cuttlefish'), published in Italy in 1925, and several times translated into English (alone or together with other works by Montale).
Many thanks to David (@david-dunhamuser589535203), who agreed to collaborate on this little creation, also adding his refined guitar phrasing. All the (usual) imperfections are mine.

Cover photo by Peter Zajfrid, "Moody Morning"

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Lyrics (ENGLISH / ORIGINAL ITALIAN)

Perhaps one morning going alone in the air of glass,
arid, lookin back, I shall see, with the terror
of a drunken man, the making of a miracle:
nothingness at my shoulders, the void behind me.

Then as on a screen, suddenly, trees houses hills
will assemble themselves for the usual deception.
But it will be too late; and I shall go on, quiet,
with my secret, among the men who do not turn

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Forse un mattino andando in un’aria di vetro,
arida, rivolgendomi, vedrò compirsi il miracolo:
il nulla alle mie spalle, il vuoto dietro
di me, con un terrore di ubriaco.

Poi come s’uno schermo, s’accamperanno di gitto
alberi case colli per l’inganno consueto.
Ma sarà troppo tardi; ed io me ne andrò zitto
tra gli uomini che non si voltano, col mio segreto.

---

Posted on SoundCloud: 2024, August 27.

Perhaps One Morning ... [Michele Ansani - David Dunham] **

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Swan Song

Low Tide

... little musical sketch - completely done with (quite clever) VSTs ...
Of course something can be changed, although the major brutal upheavals raise doubts .... Hoping alone does not help, of course ;-)
Let's hope the future is open for good turns!
... wishing a good 2025 !

Can we turn the tide?

Cast of Characters: 

TexMex Shaman–@texmex-shaman –Stephen– acoustic guitar, mix, production, and mastering

J.J. Terrell-- @j-j-terrell—JJ-- Yamaha Genos 2 piano solo

K2 and the Three [and the Four] -- @k2andthe3, @k2-kara –Ken–drums

Entheogenic Psychonaught (Josh Clary)– @josh-clary-1– Warwick 4-string fretless bass, piano, mandolin, and vocals

This song is an old Jerry Jeff Walker song from a live album that Josh's dad played countless times while driving around in his his old pickup truck while he was growing up. Josh decided this year's musical gift to his father would be a recording of this song, which his dad has always loved. When he asked his bandmates in the Eclectic Collective to help him with it, they all generously and enthusiastically agreed to do so.
  Josh began the song by laying down the piano you hear throughout. He then added the bass before asking Ken to lay down the drums. Ken learned the song very quickly, and added perfect drums to it. Stephen then added his solid foundational guitar. Then, Josh went back in and added the mandolin before singing the whole thing. Before it was done, however, Josh tapped JJ to add the piano solo after the first chorus, which he did with grand style and flourish.
  Once it was in the can, Stephen was kind enough to mix and master it in his always professional manner. 
  Josh is very grateful to his bandmates for helping him give the gift of music to his dad once again this year. His dad has alwasy supported him with his music, from the time he was a little kid, and is very proud of his musical skills to this day. We hope you enjoy listening to this gift as much as we enjoyed putting it together

Pickup Truck Song( Jerry Jeff Walker Cover)-Eclectic Collective

ppp-io

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

Official Music Video | Clip officiel : https://www.youtube.com/watch?v=cQpbhx_Oavs

Produced and arranged by Shane Watt and Marie-Noëlle Reyntjens
Mastered by Fran Ashcroft
Music and lyrics by Marie-Noëlle Reyntjens except for "secretly": written by Len Arran and Skin

Marie-Noëlle Reyntjens: vocals, back-up vocals, piano, keyboard, glockenspiel and percussion
Shane Watt: bass, acoustic and electric guitar, drums, percussion, glockenspiel, keyboard, programming and back-up vocals
Blaise Watt: electric guitar and back-up vocals

Light Of Day

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