Beatstar

HARD FEELING - KAYTRANDA TYPEBEAT

A cinematic Christmas journey carried on the wings of a full symphonic orchestra.
"Where Angels Leave Footprints" begins as a simple piano meditation—an original melody and harmonic foundation—then blossoms into a sweeping film-score tapestry of lush strings, extended harmonies, and breathtaking emotional depth.
This instrumental piece weaves pop sensibilities into symphonic grandeur: intimate verses that swell into soaring choruses, carried by broad legato string lines and romantic orchestral colors. It's the sound of snow falling over candlelit villages, of reunions and quiet miracles, of everything Christmas feels but words can't capture.
Born from human composition and elevated through AI orchestration, this track brings film-score magic to your holiday season.
Close your eyes. Let the strings carry you home.

Where Angels Leave Footprints

Messages

The Starborne Transmission

Cartographers of the Void

What's Left        Lyrics and Music copyright 2025 November by Mike Dampf & Dan Swanson
Guitar solo and guitars; piano; drums; strings; mixing by Dan Swanson/ Rhythm guitar by Mike Dampf/ Bass by David Leadbitter/ Percussion by Becky Sora/ Vocal by Bill White

What's Left

There must have been reasons for the things I said
it's so hard to follow when I'm feeling led
the flowers have melted, a wasp floats in the wine

What we had is gone
and what's left is mine

Love's bedrock trembled, then the mountainside slid
there must have been reasons I did what I did
Autumn leaves scatter, it's just Nature's sign

What we had is gone
and what's left is mine

Wedding card wishes, kisses and rings
Now I hear you saying you're gonna send for your things
There must be reasons I am so blind

What we had is gone
and what's left is mine ... what's left ...

Whats Left

It drifted from somewhere deep in the distant blue
A quiet wandering breath unknown
Trying softly to recall
All the shapes it once carried before the world was born around it
It gathers a glow at the edge of an ancient memory

Never reaching close to what it meant to reveal
Only discovering it never found the words

It held a place above the stone
It never made the light feel torn
As it listens to a calling breeze
Anyone else would clearly see
It watches the ground below

But what the air believes, it keeps
No careful mind can puzzle it away
What moves in veil
Feels always better than silence
Better than silence at all

It keeps drifting somewhere lost in a fading glow
Where it still imagines there is room to rise again
Some hour, someplace
Its warmth will settle back
It held a place above the stone
It never made the light feel torn
As it listens to a calling breeze
Anyone else would clearly see
It watches the ground below

But what the air believes, it keeps
No careful mind can puzzle it away
What moves in veil
Feels always better than silence
Better than silence at all

What the air believes
It keeps
No careful mind can puzzle it away
What moves in veil
Feels always better than silence
Better than silence at all

Atmosphere

Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer
Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer

Back in the first slow turns
When every spark felt soft and new
Currents we shaped together
Almost like rising into form
Was it the steady pull
That made you glide gently through my ring
Was it the quiet brightness
It isn’t hard to feel
I hold you and I guide you so I’m

Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer
Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer

Did we revolve too fast?
Maybe we needed slower arcs
Wondering how our lines split
Maybe we only missed the sign
Though we fell wide apart
Given a chance, we could join again
All of your faint remnant
Returns to me in waves
I call you and I keep you so I’m

Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer
Sending you my circling glow (circling glow)
So you can drift in nearer
Let your motion find my flow (find my flow)
I draw your path in clearer

Sending you my circling glow
Let your motion find my flow
Those orbits we shared
Kept both of us aligned
Moments calm and rare
And still, I hold your sign

Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer
Sending you my circling glow
So you can drift in nearer
Let your motion find my flow
I draw your path in clearer

Sending you my circling glow

Tropical air, humid evenings, slow pulse, distant calls

heavy air

ｔｈｅ ｎａｔｕｒａｌ ｆｌｏｗ生活方式 (prod love9999999)

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.

I use every tool available, human or machine, as an instrument.
Technology doesn’t replace creativity. It expands it.

Writing songs and kitchen party playing with my many musical friends ... pretty much sums it up.

Homepage www.rasoschroedermusic.de
Bandcamp https://rasoschroedermusic.bandcamp.com/

- Part Pianist, part composer, part poet, part IT technologies technician/programmer, 100% musician. -

Otoniel Rojas is a Dominican pianist and composer celebrated for his unique fusion of classical music with the rich rhythms of his homeland. Born in Santo Domingo, Dominican Republic, he was immersed in a vibrant musical environment from an early age. His father, an accomplished musician, served as the principal flutist and later as the piccolo player in the National Symphony Orchestra of the Dominican Republic, instilling in him a profound appreciation for music.

At just seven years old, Rojas began his formal music education at the National Conservatory of Music, initially focusing on the violin. Simultaneously, he nurtured a passion for the piano, teaching himself to play and developing exceptional sight-reading abilities. His prodigious talent quickly became evident as he accompanied his father in numerous public performances, church services, and television appearances across his native country.

Determined to refine his pianistic skills, Rojas pursued formal piano instruction, excelling in performance, counterpoint, music theory, and solfège at the conservatory. Despite his musical successes, he briefly explored an engineering career at the Universidad Autónoma de Santo Domingo (UASD). However, his unwavering dedication to music led him to resume his artistic journey.

Seeking broader horizons, Otoniel relocated to the United States to study at Brooklyn College of the City University of New York—a hub for international students and a springboard to esteemed institutions like Juilliard. Under the mentorship of acclaimed pianist Agustin Anievas, a celebrated American classical pianist known for his recordings of Chopin and Rachmaninoff. Under Anievas' tutelage, Rojas flourished, graduating with a Bachelor's degree in Piano Performance, earning the distinction of Cum Laude. His exceptional musicianship was recognized when he won the conservatory's piano competition, performing Beethoven's Piano Concerto No. 3 with the college orchestra.

Deeply involved in the college's musical community, Rojas participated in chamber music ensembles, served as a piano accompanist, and sang in both the specialized chamber choir and the conservatory choir. He expanded his compositional skills under the guidance of Robert Starer, an Austrian-born American composer known for his contributions to contemporary classical music. His collaboration with the university's ballet program led to his composition "A Passing of Time" being incorporated into the ballet's repertoire, which was performed internationally by the university ballet in Prague.

To further diversify his expertise, Rojas studied conducting with Karoly Kope, chamber music with Stoddard Lincoln and Marion Feldman—a distinguished cellist and professor at New York University—and delved into music history under H. Wiley Hitchcock, a leading authority on American music.

Upon returning to the Dominican Republic, Rojas continued to compose and perform. He was commissioned by the Sinfónica del Cibao to create "Mozartina," an orchestral piece that masterfully intertwines traditional merengue rhythms with themes from Mozart's "Jupiter" Symphony. The work features the tambora, a traditional Dominican percussion instrument, symbolizing a fusion of his classical training and cultural roots. "Mozartina" premiered with the Sinfónica del Cibao and was later performed in a revised version by the National Symphony Orchestra in Santo Domingo under the baton of Caonex Peguero, a prominent Dominican violinist/conductor/composer.

Today, Rojas continues to share his music with audiences worldwide. Through platforms like SoundCloud and published sheet music, he brings a unique blend of classical and Dominican musical traditions to listeners and performers alike. His journey reflects a lifelong dedication to music and a commitment to bridging cultures through his art.

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