A piece inspired by the music of Skyrim and other fantasy games.

Art by :
https://www.artstation.com/ferdinandladera

Instruments :

Woodwinds --- Cinematic Studio Winds
Brass --- Cinematic Studio Brass
Strings --- Cinematic Sudio Strings & Solo Strings

Solo Oboe --- Parker Oboe

Harp --- CineHarps

Choir --- Audio Imperia Chorus

Perc --- CinePerc
Glockenspiel --- Mallet Flux

You can find me and my music on several platforms :

my website : pierre-genaudeau.com/

soundcloud : @pierre-genaudeau
bandcamp : pierregenaudeau.bandcamp.com/
reverbnation : www.reverbnation.com/pierregenaudeau
youtube :

/ @pierregenaudeau

And you can find me on facebook, instagram and twitter :

www.facebook.com/pierregenaudeaucomposer/
twitter.com/Adynd85
www.instagram.com/pierregenaudeau/

Tiktok :
www.tiktok.com/@pierregenaudeau?lang=fr

Waters Of The Ancient Vale

Overview

This piece was influenced by Kenny Wheeler, in particular his composition ‘Mark Time’ to which I allude in the title. It also features a 12/8 time signature reflecting that of “Mark Time”. It modulates every three bars in the Head, in reference to the ‘Modulating Modality’ in the title. The piece is in a Modal Free Jazz style. Influences include “Flamenco Sketches” by Miles Davis, and
“Peace Piece” both of which have frequent modulation.

Form and Structure

The piece is a long form, through composed 21 bar form with an intro of two bars. It transitions through a variety of modes and has seven sections, each of three bars, which all make use of a
different mode.

Intro - Chorus - Solos - Chorus Out

Harmonic Derivation

The piece transitions through the modes from Phrygian in a random order.

• Bars 1-3: G# Phrygian.
• Bars 4-6: C# Phrygian.
• Bars 7-9: A Aeolian.
• Bars 10-12: G# Phrygian.
• Bars 13-15: D Dorian
• Bars 16-18: E-flat Aeolian.
• Bars 19-21: C Lydian.

Phrase Structure

A(3-5), B(6-8), C(9-11), D(12-14), E(15-17), F(18-20), G(21-23).

Melodic Style

The melody is in the mid register and is characterised by step-wise motion with the odd intermittent leap. The Phrygian mode in G# from bars 3 - 5 and 12 - 14 and in the Intro allude to Flamenco music, a further reference to Miles Davis’ “Flamenco Sketches”. Scalic runs in the key of C Lydian are featured in the last three bars.
Finally, there is rhythmic repetition, for example the rhythm of bar 19 replicates that of bar 5 and also bar 11 replicates that of bar 23.

Notes on Recording

Violin, Piano, Double Bass.
Unison presentation of tune, free solos over form.

Marking Modulating Modality Piano Violin Bass

This downtempo electronic piece immediately envelops the listener in a vast, melancholic soundscape, establishing a meditative mood at 60 BPM. Weaving ambient and glitch elements with neoclassical touches, it subtly bridges synthetic textures and organic instrumentation. The foundational Am-C-G-Em chord progression, rooted in the Aeolian mode, generates a contemplative atmosphere, its minor tonality lending a poignant, unresolved quality. Ethereal vocals and melodic bells float above this harmonic bedrock, while a Boards of Canada-inspired synthesizer melody introduces a nostalgic, analog warmth, contrasting with the spacious production and delicate textures.

Urban field recordings – vocal fragments captured in a city tunnel – inject an element of concrete music. Their glitched artifacts create a fascinating dialogue between natural reverberance and digital manipulation, adding an experimental edge. This texture is grounded by the rhythmic interplay of syncopated session percussion and a steady kick/snare pattern, providing subtle forward momentum while preserving the track’s dreamlike essence. Echoes of Nils Frahm or early Brian Eno resonate, yet the piece maintains a distinct, restrained intensity. Best experienced in focused listening or introspective settings, standout moments include the delicate piano melody juxtaposed against the vast synth backdrop, culminating in a hypnotic exploration of urban dreamscapes where experimental sound design meets melodic structure.

Dreamyland

The fifth track on this series is about the good old minor scale, formally called the aeolian mode, which is the saddest of them all, but is it the"crying about the iminent divorce" type of sad? or "bombastic and devastating action movie" type of sad? both, I used both on this song :)

Aeolian

The sixth in this series of modal polkas. This one is in aeolian mode, an alternative minor, led by mandolin, with lots of other things..

Number thirteen selfheal polka

The breath-surge that opens the veil. The gushing forth of the unseen that stirs all things. 

The piercing axis, the veil of memory, the sharp fourth is wholeness through fracture.

Aeolyma

The sixth in this series, so in Aeolian mode. Lots of bouncy minorness, with various kitchen equipment joining the squeezeboxes

#20 Bunting Hornpipe

Gentle Breeze

Aeolian delineates a journey that I perceive as being borne upon imperceptible currents, much like the fragmented realities I assemble in my broader practice. This sound track commences with the roar of aerial departure and muffled transmissions, collaged to convey initial disorientation. I integrate sound bites from real events -- adding reality not imitating it. This track transitions to the rhythmic acoustics of oars hitting water, the visceral crackle of fire, and the pervasive howl of an ominous wind. This sound assemblage, "Aeolian," explores the inherent tension between static environmental sounds and fluid emotional states, examining resilience amidst uncertain epochs, reflecting the formidable, often invisible forces that shape individual trajectories, and revealing the unforeseen consonances discovered in traversing life's most challenging passages.

ae·o·li·an

The same melody used in 7 different church modes, following the vibe of each one. This was created as part of Music Theory at AEMA. 

Marciana - Church Modes (AEMA)

über was a fun one. It made itself. Unfortunately, that's it. I burned out. Everything besides Californium in this album is downhill.

über

"Thus the outer characteristic of those who choose the other mystical way, that of the God of love, is that they have the 'gift of tears'. This is in keeping with the very essence of their mystical experience. Their union with the Divine is not the absorption of their being by Divine Being, but rather the experience of the breath of Divine Love, the illumination by Divine Love, and the warmth of Divine Love. The soul which receives this undergoes such a miraculous experience that it cries. In this mystical experience, fire meets with FIRE. Then nothing is extinguished in the human personality but, on the contrary, everything is set ablaze."
-Our Unknown Friend

That They Have The Gift Of Tears

The sixth in my series of Gemstone Waltzes, so in aeolian mode. Moody piano and box on this one.

#27 Amethyst Waltz

I am a composer/arranger for screen, experimental sonic artist and multi-instrumentalist, playing piano, organ and double bass across jazz, classical and  pop genres.

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.

i do music
https://linktr.ee/itsRhenium75

From metal to shop themes, i'm composing it all

Back to Mars (Forestdelic Records) ~ Night Psy & Forest, Dark Prog / Marciana (dEEp) ~ Dark Minimal Techno & PsyTechno
BOOKINGS: info@backtomars.net
STUDENT at the Amsterdam Electronic Music Academy (Conservatorium of Amsterdam - Amsterdam University of the Arts)
UPCOMING:
18/10/2025	BomBlastic & Parvati Records 25th Anniversary (Back to Mars) - Netherlands
24/10/2025	Lotte's closing event (Marciana & Back to Mars) - Germany
25/10/2025	Trance Orient Express (Marciana) - Netherlands
14/02/2026	TBA (Back to Mars) - Antwerpen, Belgium
18/04/2026	Shiva Shakti Dark Temple (Back to Mars) - Netherlands
12-13/6/2026  Existance Festival (Marciana & Back to Mars) - UK

Piano and ambient music for wellness and healing.

Hi, I'm a french composer from Nantes, I compose mostly with classical instruments. I like contemporary, modern classical, videogames and films music.
I work on several games :

- Pokémon Gemme
- The Depths
- Imperial Grace
- Other games made during a GameJams

Bonjour, je suis un compositeur de Nantes. Je compose principalement avec des instruments classiques. J'aime la musique classique moderne, contemporaine, les musiques de jeux vidéos et de films.
J'ai fait plusieurs compositions pour des jeux :

-  Pokémon Gemme
- The Depths
- Imperial Grace
- Des jeux faits lors de GameJams

Accordion, melodeon, concertina, ceilidhs, traditional and experimental

ambient synth + shortwave theohauntology experiments

New tracks tagged #Aeolian