D-Ophiuchus

[Rejected submission to Arcaea Song Contest - Coalescence]

Implicitly, Sestina knew it.
The answer was simple, really:
The storm forming around her was not natural.

No, it seemed to be created just for her…
The clouds above her seemed to suggest a path to follow, the faint daylight showing a trail…
Whoever this god was… they seemed to want to heed her request. 

No matter. She would do whatever she needed to be heard.
For a world in which she can finally be free and happy again…
She will meet this god, and she will find her answers. 


...Okay, let me use this as a soapbox now:
Yeah I did take a risk for this one, and looking back, am I happy about it?
...Well... kinda?
I mean, without this, Critical Stage would just not exist
and that's definitely up there in the tracks I like the most personally.
But, yeah. Honestly, I could have done better, but what's done is done.
Don't worry, there will be more, it's just what I'm working on is taking a while and I haven't had as much time as I would have liked...
But it is coming together, more or less.

Also, I have no plans for this track, if I'm being honest, so take the open license if you'd like-

BPM: 124-220 (in 4/4 and 5/4)

[Rejected ASC#4] An Empty Heart

In Memoriam for Solo Grand Piano - Extract

James writes - "I heard a performance of Beethoven’s Piano Sonata No. 4 in E-Flat Major, Op.7 ... I was taken with the heart wrenching opening few bars of the second movement, Largo con gran espressione, which has stuck with me to this day."

The piece extracts fragments from the first few bars of music from the Beethoven and are re-written in new ways to create eighteen new fragments. Three of these fragments are recorded live into megaphones which are then looped to form an homogenous backwash. It is then left up to the performer to improvise in-the-moment with the other 15 fragments, which can be played in any order and repeated as many times as desired.



James Williamson, Fragments to Loop (live)

Void March

Ularekiishterium

o teu sorriso mudou demo

Y-Aprilis

soft landing

soft piano music

🎼 Gliptopalinomia is a cycle of piano miniatures in which I present all the fundamental elements of my System of Periodic Constructions. Each part is based on periodic pitch material derived from a row of alternating intervals. The selection of intervals, combined with mostly cyclic rhythms, defines the unique timbre and texture of each miniature.

🔹 Gliptopalinomia 7.2, 2.7, …
Built solely on the perfect fifth (7 semitones) and the major second (2 semitones), this piece has a bright, glossy sound of repeated phrases – like an iridescent liquid rapidly shifting shape in a looped motion.

🔹 Gliptopalinomia 7.1, 1.7, 3.5, 5.3, …
A denser row of intervals: perfect fifth and minor second; minor third and perfect fourth – resulting in a shadowy, blurred sound. A recurring motif of a rapidly repeated chord (in distant registers: high-low-high or low-high-low) creates a jagged, dramatic texture and a sense of virtuosity and elasticity.

🔹 Gliptopalinomia 10.1, 1.10, …
Only two intervals: the minor seventh and the minor second. Sparse, transparent, and delicate – this miniature sounds like a few raindrops quietly falling on a windowsill after a storm.

🔹 Gliptopalinomia 6.3, 3.6, 5.4, 4.5, …
A take on the musical perpetuum mobile. The left hand plays a fast piano part, while the right hand performs electronically processed Rhodes sounds via a MIDI keyboard. The pianist repeats the entire piece three times; during this time, the electronic part shifts down a quarter-tone, creating audible interference between the hands.

🎧 Gliptopalinomia – the title is derived from three Greek words:
	•	glipto (glyptós, glyphē) – sculpture, engraving;
	•	palin- (pálin) – again, against, back;
	•	-nomia (nomós) – skill, art, law, or field of study.

The entire cycle is a sonic sculpture engraved in my musical matter – a result of nearly two decades of work. Each part is a study of a fragment of the System of Periodic Constructions, while the whole cycle demonstrates its modus operandi.

🎓 Dedicated to Prof. Grażyna Pstrokońska-Nawratil. The first letters of her name and surname inspired the initials of the three Greek words forming the title – G, P, and N.

Gliptopalinomia 7.2, 2.7, ...

Gliptopalinomia 7.1, 1.7, 3.5, 5.3, ...

Gliptopalinomia 10.1, 1.10, ...

Gliptopalinomia 6.3, 3.6, 6.3, 3.6, 5.4, 4.5, 5.4, 4.5, ...

voice memos recording May 29, 2025, piano over the scott.  Songs sometimes sound the same, the daws sound robotic, even remixing this sounded like a dumpster fire.  Writing songs over the guitar is more fluid, more fun, moreover frustrating.  I have about 8 songs now or so.  Some covers alongside them.  this represents none of them.

0wely2

Derborence

Tiptoe

Revised version of a little song I made a while back when didn't even know what dissonance and chords meant.
**BETTER VERSION AND DOWNLOAD**: https://www.newgrounds.com/audio/listen/1456479

© 2025 Flovyn. All rights reserved.
For sampling, or derivative use, contact me directly at: contactflovyn@gmail.com
Image by © AnahitaKuwariPhotos — Source: https://www.flickr.com/photos/196428387@N02/52393355001/in/album-72177720302505264

Solace - Revised

Love of my Loves

An artist who likes finding the balance between chaos and simplicity-

I, VantaDisk, want be a good music producer or trying that. and here's some of my works (or test). i am trying make good songs. well, bye and listen my songs

Paweł Hendrich was born in 1979 in Wrocław (Poland). After studying engineering and economics at the Wrocław University of Economics he studied composition at the K. Lipiński Academy of Music in Wrocław (prof. Grażyna Pstrokońska Nawratil) and at the Hochschule für Musik in Cologne (prof. York Höller).

The works of Paweł Hendrich have been performed at concerts and festivals in Austria, China, Czech Republic, Denmark, Estonia, Germany, Hungary, Latvia, Lithuania, Malta, Norway, Poland, Russia, Slovakia, Spain, Sweden, Switzerland, Turkey and United States of America.

The composer has received commissions from: Warsaw Autumn Festival (Ensemble Musikfabrik, Basel Sinfonietta, Warsaw Philharmonic Orchestra), Warsaw Philharmonic, Polish National Radio Symphony Orchestra, Deutschlandfunk (Kwartludium), Goethe-Institut, BHF BANK Stiftung and Ensemble Modern, The Municipality of Wrocław (NOSPR), Polish Institute in Madrid (PluralEnsemble), Institute of Music and Dance, Orkiestra Muzyki Nowej, Chain Ensemble, The Forbidden City Chamber Orchestra, National Forum of Music (Lutosławski Quartet, LutosAir Quintet, NFM Leopoldinum String Trio, Studio Dan), ZAiKS Polish Authors' Association as well as from the Polish Composers' Union (Pablostrom, Orkest De Ereprijs).

Among Paweł Hendrich’s most significant awards and distinctions are: The Decoration of Honor Meritorious for Polish Culture (2017) and the Bronze Cross of Merit (2022) – both awarded by the Polish Ministry of Culture and National Heritage, the Scholarship of the Mayor of Wrocław (2020), and the Annual Award of the Polish Composers' Union (2025).

For several years now, he has been programming, composing and performing live electroacoustic music. With Cezary Duchnowski and Sławomir Kupczak he founded the electroacoustic group Phonos ek Mechanes. So far, trio has performed at festivals of improvised, contemporary and electroacoustic music, and at concerts in Poland and abroad.

In 2010 DUX released Paweł Hendrich's monographic record "Chamber Works", in 2017 second one called  "Metaforma" and in 2025 the third "Fractalized". In 2012 Bôłt Records released Phonos ek Mechanes’ first CD called  "C+-". In addition, his works have been published on several other CDs, including Ensemble Modern label.

Alessandro is an award-winning composer from Italy who specialises in film/TV music, contemporary composition, and audio production. His music bridges established and contemporary practices to create new, original sonorities transcending traditional, confined musical genres and labels. His music plays with the unexpected as a powerful narrative source, creating a continuous sense of engagement with the listener through constantly evolving musical worlds and narratives.

Night kitchen composer of experimental piano and noise with complex beats and playful modulation,
with a half-baked classical education (and a glass of rosé in hand).

Based in Lausanne, Switzerland. 
Born and spent her childfood in Hokkaido;North island of Japan and grew up in Tokyo.

Kaori unfolds a sonic tangle in which she orchestrates piano compositions, field recordings, and radio waves to crush everything with rhythmic, randomly. The result is a multi-sensory journey that twerks between voltaic dreaminess and slow-mo settling of scores.

Bio; Written by Mabrouk / bisque_collective
https://www.instagram.com/bisque_collective/

mwah <3

contact me at: antpazart@gmail.com

🐳Thank you for your support. It's very encouraging.🪼
🐱I do not use AI in my music.😊
🌺Have fun! Bandcamp!💞Thank you for your purchase!💞

New tracks tagged #Experimental Piano