Where

where

Suspect Surveillance

Doing some variations with F,E and a mellow Fender Rhodes vibe from Logic Pro and a warm adagio violin from Omnisphere. Has lots of room to work around it in collaboration and or further in for myself. Best to all in my collar series....

Faye II  - 1_23_25, 2.41 PM

SLOW BUILD  Jan 25th 25 a 5 track piece I composed, recorded, trying fragment idea for a larger ambient orchestral direction. Great way to start the day after some coffee, now on to drawing.

Approaching and Walking In The Glen II - 1_25_25, 12.56 PM

This instrumental piece unfolds as a poignant and reflective neoclassical composition, immediately establishing a mood of gentle melancholy and quiet contemplation but with a subtly expanding sonic palette. The primary voice throughout remains a tender piano melody, played with a delicate touch that emphasizes the music's emotional core. It's a melody that feels simple and profound, carrying a sense of yearning and perhaps a touch of wistful sadness, yet ultimately settling into a place of peaceful resignation.

Beneath the piano and the lush string section, which still provides a rich and supportive harmonic foundation with its swelling and receding waves of violins, violas, and cellos, we now hear the grounding presence of an upright bass. Played with a warm, pizzicato touch, the bass enters subtly, anchoring the lower register and adding a touch of jazz-inflected depth to the harmonic texture. It's not overtly rhythmic but rather provides a gentle pulse and harmonic richness that supports the neoclassical framework.

A wordless, ethereal choir adds another layer of texture and emotional resonance. It enters discreetly, almost like a distant vocalize, blending seamlessly with the strings. The choir doesn't sing distinct melodies or lyrics but provides a wash of harmonic color, adding a spiritual and almost hymnal quality to specific sections. This choral element enhances the sense of contemplation and imbues the piece with a slightly more expansive and emotionally resonant atmosphere, moving beyond purely instrumental neoclassical territory.

Finally, the piece incorporates delicate percussion elements, contributing to its genre-blending nature. While the core is neoclassical, the percussion introduces subtle rhythmic undercurrents that hint at other genres. You'll hear soft, brushed cymbal swells and gentle taps on what sounds like a snare drum played with brushes reminiscent of jazz ballad percussion patterns. These are not driving, beat-focused rhythms but rather textural and atmospheric, adding subtle movement and a touch of contemporary sensibility. There are also moments where you can perceive very faint, almost ambient electronic percussion textures, providing a whisper of modern production and further blurring genre lines. These elements are incredibly understated, never intruding on the neoclassical mood, but they subtly enrich the rhythmic and textural landscape, preventing it from feeling strictly traditional.

The arrangement still builds gradually, starting softly and evolving in intensity and emotional depth organically, guided by the piano and strings. The orchestration remains masterful in its restraint, ensuring the piano melody is always central. However, adding the upright bass, choir, and subtle percussion, particularly the jazz-influenced brushed patterns and ambient electronic touches, expands the piece's genre beyond purely neoclassical. It becomes a more nuanced and contemporary sound, perhaps leaning into a genre that could be described as "neo-classical ambient" or "cinematic neoclassical" with jazz and electronic undertones.

In summary, this beautifully crafted and emotionally rich piece blends neoclassical foundations with subtle jazz, ambient, and cinematic influences. Lush strings, a warm upright bass, an ethereal choir, and delicate, genre-bending percussion support the evocative piano melody. Listeners who appreciate artists like Ludovico Einaudi and Nils Frahm or film scores that blend classical instrumentation with modern production will find themselves captivated by this piece's gentle beauty and sophisticated textures. It's a perfect choice for moments of deep reflection and peaceful focus or when seeking music that is emotionally resonant and subtly innovative in its genre blending.

Morning Grace

Sampled from the end of Lover's Charm by Sorrow (sorrowgarage)

untitled

Afterstorm

Saying 'goodbye' to a wish, a dream, an idea that lingered in your brain for a long time.

Farewell Song

New Beginnings

Espressivo Punk

une toute petite rêverie dédiée à l'enfance, nostalgie de ces premiers morceaux qu'on apprenait au piano, juste après "la Méthode rose"...

‍Enfantine 8 Pavane pour une poupée ancienne

"Everything seems an echo of something else.

And when, by the hair, the headsman held up the head
Of Mary of Scots, the lips kept on moving,
But without sound.  The lips,
They were trying to say something very important.

But I had forgotten to mention an upland
Of wind-tortured stone white in darkness, and tall, but when
No wind, mist gathers, and once on the Sarré at midnight,
I watched the sheep huddling.  Their eyes
Stared into nothingness.  In that mist-diffused light their eyes
Were stupid and round like the eyes of fat fish in muddy water,
Or of a scholar who has lost faith in his calling.

Their jaws did not move.  Shreds
Of dry grass, gray in the gray mist-light, hung
From the side of a jaw, unmoving.

You would think that nothing would ever again happen."

-Robert Penn Warren

Artwork by George Wesley Bellows: "Dance at Insane Asylum" (1907)

Shadow of Truth (Retrograde)

Photograph: Project 24 Operation Hardtack (National Archives)

Music for Ash and Sea

Composition "Prelude in C major" by Johann Sebastian Bach (BWV 846).

Artwork by John Singer Sargent: "Thistles" (1889).

Bach: Prelude in C Major

Vanished

Musical Elitism (Classical Music reload)

The feeling one has on realising that every other individual one sees has a life as full and real as one’s own, in which they are the central character and others, including oneself, have secondary or insignificant roles:
In a state of sonder, each of us is at once a hero, a supporting cast member, and an extra in overlapping stories.

Guitarist, Composer, Producer, educator

 PJ got his professional education at MI in Hollywood, California, where he graduated with honors in 1991. 

After graduating, PJ returned to the Netherlands where he started a career as a studio musician and performer for many artists and bands. With both feet firmly planted in  Blues-rock soil, PJ has ample experience in all music styles, from classical to fusion. All posted tracks features PJ as composer, instrumentalist and producer. All re-posted tracks always features PJ's guitar playing, sometimes also as producer, and occasionally as (co)writer.

The entire sound is in my hands. I write cyber poetry, produce, and compose every track ready for Immersive 3D. Every beat is crafted for spatial and next-gen headphones.
Intimate lyrics, total immersion, every track.

For 30 years I kept unfinished demos to myself, never letting them out. Now I finish what I start and release it the moment it’s alive.

Vincent Levy Bryant pka "VLEEV" is an American music composer who focuses his THEMES, SONGS, UNDERSCORE and BEATS for visual media
 ( film , animation , gaming and streaming )  www.vleev.net . He is also the current acting creative director for a non-profit that provides help for underserved visual media content creators www.shinemusicandfilm.org  He resides in ATLANTA , GA. USA

Portal of Dreams crafts introspective soundscapes where electronic and acoustic elements interweave naturally. Drawing from ambient, neoclassical, and experimental genres, we create sonic spaces for emotional healing and contemplative reflection.

Our music emerges from a shared belief in music's therapeutic power. Each composition is carefully architected to evolve like natural patterns, balancing synthetic and acoustic voices in a spacious mix where every element has room to breathe. From gentle piano melodies supported by ethereal synths to ambient textures that slowly unfold, we design each piece to guide listeners from states of melancholy toward hope and tranquility.

As artists who rediscovered music's creative call in adulthood, we understand its profound ability to accompany us through life's challenges. This perspective infuses our approach to production, where we prioritize nuance over loudness, focusing on detailed sound design and natural evolution over time.

We're committed to fostering a supportive musical community through collaboration and knowledge sharing. Whether you're seeking music for deep reflection, peaceful study, or emotional processing, we invite you to explore these sonic landscapes.

Petros Theotokatos is a singer-songwritter, musician, composer and poet. He is well known for his indie-alternative music with political thesis. His first single “θα Χαθώ” (I will be lost) gained massive succes in Greece in 1998. He has released 9 albums at different music styles even electronica (a-political correct-monologues 2012).
As a contemporary composer he has made music for orchestra and various ensembles. He is touring most of the time all over Greece playing his music in numerous concerts.

Amateur de musique, de philosophie, de poésie, je n 'ai pas d'autre culte que l'amitié. J'aime écrire et mettre en musique, j'aime mélanger les genres, et mon piano aux boucles pour étoffer l'un, vivifier les autres, les déranger parfois. La musique ne connaît pas de barrière, sauf de corail!

ma musique est également publiée sur bandcamp avec comme nom d'artiste : semellesdevent

"You have spoken the answer.
A child searches far sometimes
Into the red dust
    On a dark rose leaf
And so you have gone far
    For the answer is:
        Silence."
-Carl Sandburg

Ambient, minimalist classical, and electronic music.

Ambient classical compositions, experiments, and avant-garde works.

aka edoken

New tracks tagged #AMBIENT CLASSICAL