A timeless song written by Rogers and Hart. Solo, trumpet and piano ￼- covered by Janis Joplin and Diana Krall to name a couple. 

Lyrics:

Sit there and count your fingers
What can you do?
Old girl, you're through
Sit there, count your little fingers
Unhappy little girl blue
Sit there and count the raindrops
Falling on you
It's time, you knew
All you can ever count on
Are the raindrops
That fall on little girl blue
Won't you just sit there
Count the little raindrops
Falling on you
'Cause it's time, you knew
All you can ever count on
Are the raindrops
That fall on little girl blue
No use, old girl
You might as well surrender
'Cause your hopes are getting slender and slender
Why won't somebody send a tender blue boy
To cheer up little girl blue

By Rodgers Richard / Hart Lorenz
Piano arrangement and thanks to Bob MAcKenzie

Little Girl Blue — Trumpet & piano Instrumental

More great music
https://soundcloud.com/slewdub23

Photo: H.Skeneby

Glycerine (storm in a pulse)

“Symphony for Chamber Orchestra - 3rd Movt: Rondo" was completed in June 2025 in Fairview, TX. Performance time is about 11 minutes. Printed and electronic copies of the score and parts will be available soon from www.CreativeSpiritOnline.com.

About this recording:
The present virtual recording was produced using Finale 27.4.1 and the Garritan Personal Orchestra 5 virtual instrument library. For the best listening experience, high quality headphones are recommended. This recording was mastered by EMastered.

Instrumentation:
Flute. Oboe, Bb Clarinet, Bass Clarinet, Bassoon, Horn in F, Trumpet in C, and Strings

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:
Robert John Brooks, Fairview, Texas USA
Email: robtjbrooks@yahoo.com
Web: www.CreativeSpiritOnline.com
Web: eMastered.com/profile/robtjbrooks

Engraving by the composer
Artwork by the composer
Copyright 2024

Symphony for Chamber Orchestra- 3rd Movt: Rondo

On se cherche à travers les mains 
On se regarde et puis tourne la tête 
A s'épuiser et entendre ta voix 
Pour me donner l'envie d'avancer 
Ou juste de s'arrêter 
A ne plus croire et continuer à s'essouffler 
Pour retrouver la couleur du ciel 

Mais quand j'te vois à quoi ça sert 
Et quand dit moi être dans les bras 
Au fond c'est toi 
"Et si l'on prenait l'air"
Mais quand dit moi ce retrouvé à terre 

Tu me perds et traverse la pièce 
Je te regarde au loin disparaître 
Tourné la tête plusieurs fois 
A t'épuiser à entendre ma voix 
J'avance mais tu recule 
On se retrouve à chaque pat 
Pour effacer la couleur du ciel 
On se retrouve à chaque pat 

Mais quand j'te vois à quoi ça sert 
Et quand dit moi être dans les bras 
Au fond c'est toi 
"Et si l'on prenait l'air"
Mais quand dit moi ce retrouvé à terre

Pourquoi je cherche et pourquoi tu ris 
A quoi ça mène toutes ces folies 
Même sans te voir viens avec moi 
Arrache et toute la rage en toi
Sort vite de là 
Laisse le feu s'éteindre
Et Sert moi dans tes bras 
Image juste la couleur du ciel 

Mais quand j'te vois à quoi ça sert 
Et quand dit moi être dans les bras 
Au fond c'est toi 

Mais quand dit moi ce retrouvé à terre

Plus rien à attendre ni entendre 
Je pars de cet endroit un peu étroit 
Pardonne-moi si tu étais bien là 
Je t'embrasse malgré le froid 
Je te laisse un étrange souvenir de moi 

Qui te blesse au plus profond de toi
Je te laisse un étrange souvenir de moi 
Qui te blesse au plus profond de toi 

Mais quand j'te vois à quoi ça sert 
Et quand dit moi être dans les bras 
Au fond c'est toi 
"Et si l'on prenait l'air"
Mais quand dit moi ce retrouvé à terre

Mais quand j'te vois à quoi ça sert 
Et quand dit moi être dans les bras 
Au fond c'est toi 
"Et si l'on prenait l'air"
Mais quand dit moi ce retrouvé à terre



À terre

À  terre

Made in July 2025

Video; https://youtu.be/NlBNF0xmf0w

Temples

Nostalgia

Throat Singing 7 18 25

carousel

I'm walking in the tall grass
Cool to my feet
Got nowhere to go
I got nowhere to be

O just to be boys again
O to be boys again

Help me up on this bicycle
Point me downhill
A hunert miles an hour
O what a thrill

O just to be boys again
O to be boys again

Maybe just a scent on the breeze
But it's all coming back to me
The sun suspended never to set
All been lost to me now, and yet...

A whole store full o' treasures
Penny candy and gum
I never knew shoplifting would be so fun

O just to be boys again
O to be boys again

O that I could lose all I've become
O that I could find what I once was

O just to be boys again
O just to be boys again
Oh to be boys

O To Be Boys Again

Please excuse me for coming up with something new so quickly.

Tomorrow marks the 22nd anniversary of the death of French actress Marie Trintignant, who was beaten to death by her boyfriend, Bertrand Cantat, on 26 July 2003.

Some people will have seen the Netflix documentary about the case and will therefore also be familiar with the media and public debate at the time. This was a broad and heated discussion, as if the categorisation of such a brutal killing was a matter of opinion.

After that, one might have gained the impression that those who prioritise conservative values and traditional social and family roles tend to view domestic violence as an interpersonal tragedy rather than an unequivocal act of violence. ‘Arguments happen in even the best families.’ – ‘Doesn't an argument that gets out of hand often come from both sides?’ – ‘Did the victim overstep the mark and provoke an overreaction instead of making a diplomatic concession?’…

22 years have passed since then. In that time, #MeToo has emerged, alongside all kinds of discussions.

A lot of noise. A lot of media. A lot of talking-is-the-new-doing. But nothing has changed, apart from the number of reported cases of domestic violence, which continues to rise to this day. Whether this is because more and more offences are being reported instead of concealed is massively irrelevant:

In Germany, one woman or girl is beaten, abused or victimised by her partner or a male family member every single minute of every 24-hour day. According to official reporting statistics, this only happens every three minutes. What is clear, however, is that someone dies from their injuries almost every day.

The murder of Marie Trintignant is repeated every day.

There are many explanations for this. Psychological, social, political, and personal, to name a few. After all, we are living in an age of digital polyglotism where everyone has an answer to everything. Somehow, what you can explain is easier to accept. So, let’s talk about acceptance.

The number of car thefts registered in Germany each year amounts to around one sixth of the reported cases of domestic violence. The number of domestic burglaries is less than half.

What would happen if the number of domestic burglaries doubled, or if the number of car thefts increased sixfold? There might also be discussions about the thieves' psychological state of emergency or their possible negligence, provocation or shared guilt. But first and foremost, everyone would agree:

'This has to stop! We must stop it by any means necessary! … Zero acceptance!"

Is a stolen car, despite insurance reimbursement, really more painful, shocking and unacceptable than a woman being dragged through her flat by her hair?

---

Lyrics, music and production by ©Hans-Michael Albers. Vocal performance by suno4.5

video: https://www.youtube.com/watch?v=Kn16cxiq-64

Google translation:

I won't let you rest
It's the only reason you're hitting me
To get revenge for all your frustration
You just have to do so

It's not even good for you
But what are you going to do with your anger?
It's all my fault
I'm pushing your patience to the limit

Your pain should be mine
I deserve to feel it
You give it my face
So it can break me instead of you

What nobody sees or hears
It destroys the perfect world
Whenever it bangs
I wanted it that way

Only because of me do you see red
And because of me, you beat me to death
Only because of me do you see red
And because of me, you beat me to death

I would have liked to live
How I felt, how I moved freely.
One last pain, one moment
Then it's over, happy end

Ich hätte gern gelebt

Music composed and performed by Simon Wojcik

Lullabye in C# minor

Welcome to my SoundCloud page. My tracks are mostly highlighting my bass playing. I also play guitar, ukelele, some keyboard, sing, and whistle. Thanks for checking out the tunes.