This is the second part of an improvised intuitive performance that took place in Harmony Valley. This time, it was at night, creating a different mood. I am very thankful to everyone who was involved, directly or indirectly, in the creation of this track and in helping me find my musical path. 🧙‍♂️🧝‍♀️🥰🍄🌲
For the best experience, I recommend sitting comfortably or lying down in cozy clothes. 😌

If you like what you hear you can sneak into the studio and check how it was performed here: 
https://www.youtube.com/watch?v=TjAZKq7LSCs&t=5s

live at Harmony Valley (night)

Jean-Pierre Deleuze
Âlâp - 2005

Bansurî, Arpeggione et Guitare
Nathalie Houtman, Nicolas Deletaille et Philippe Desquesnes

Dans la musique classique de l’Inde du Nord, le terme Âlâp désigne une sorte de prélude improvisé pendant lequel le soliste déploie peu à peu un raga, c’est-à-dire l’échelle modale sur laquelle sera construite toute la pièce. L’Âlâp consiste en un lent et long déploiement mélodique accompagné du seul tambûrâ, instrument à cordes qui fait entendre la fondamentale durant toute la  pièce.

Ces procédés musicaux fondateurs sont exploités et « transcrits » dans cette composition intitulée Âlâp, justifiant ainsi le choix de son titre. Toutefois, l’échelle utilisée, qui correspond aux hauteurs déterminées par la série des sons harmoniques, est complètement étrangère aux centaines de raga que la tradition indienne a développés. Dès le début, le bansouri (flûte traversière en bambou) tient longuement un son caractéristique : le son 7, c’est-à-dire la septième mineure abaissée d’un sixième de ton, ce qui la rend étrangement consonante. Du fait du déploiement progressif de l’échelle, les sons non tempérés sont progressivement assimilés. Le bansouri et l’arpeggione offrent naturellement la possibilité de faire entendre ces hauteurs particulières tandis que la guitare ne fait sonner que les sons tempérés de l’échelle. Elle assume au début le rôle du tambûrâ, puis peu à peu, elle émerge en solo en imitant le jeu du sarod (instrument à cordes pincées dont la touche est recouverte d’une plaque métallique permettant de nombreux glissandi d’ornementation). La dernière section nous conduit à entendre les sons les plus aigus du bansouri alors que la partie de guitare, qui a retrouvé son rôle d’évocation du  tambûrâ, est mise en boucle. 

Âlâp - Jean-Pierre Deleuze (2005)

【引子·铜铃启幕】
（前奏：铜铃摇响渐入，古筝模拟雨滴落砚声）

Verse 1
檐角铜铃叩醒竹马
你折的杨柳正往砚台发芽
宣纸漫过十六岁盛夏
留白处有萤火虫提着笔画

Pre-Chorus
古桥数流水年轮（新增时间意象）
十二重塔影驮着信笺出发（改良闭口音）
当年种下会跑的月牙
今夜在城墙拐角 长出枝桠

Chorus 1
你是我悬空的星子啊
摇落满天未命名的沙
约好不说的天涯
被铜铃晃成 水墨里晕开的霞

【间奏吟白】
（笛声中断，混响处理的人声）
“江湖不过是两片掌纹重叠的回声”（《青衫》戏剧化改编）

Verse 2
挑灯看剑时浊酒微温（融入江湖元素）
青石板烙着当年马蹄纹（五感交织）
鸿雁掠过你染霜的枕
衔来半阙 墨香未冷的晨昏

Chorus 2
你是我悬空的星子啊
照亮书信里未干的牵挂
山水万千都作画
留白处题着 永不落款的初夏

Bridge
老茶沏开年轮的疤（时间纵深）
棋局在蝉鸣里生根发芽（动态意象）
若岁月非要收走竹马
请让铜铃继续 替我们说话

【电吉他solo过渡】
（模拟铜铃震荡的电子音效，致敬《双截棍》中西合璧手法）

Final Chorus
你是我悬空的星子啊
悬在最初那截月亮枝桠
任霜雪深了又深
掌心纹路里 江湖从未分岔

Outro
（渐弱吟唱+环境音）
铜铃晃着 未下完的棋
青衫卷走 最后一粒沙
（终）

《Chronicles of Bronze Chimes》
——To the Star That Never Falls

【Prelude · Chimes Overture】
(Intro: Gradual bronze chimes blending with guzheng mimicking raindrops hitting inkstone)

Verse 1
Eaves' bronze chimes awaken childhood steeds
The willow you broke now sprouts in inkstone's womb
Rice paper drowns in sixteen-year-old summer's bloom
Fireflies hold brushes where margins leave room

Pre-Chorus
Ancient bridge counts river's rings (Time imagery)
Twelve pagodas carry letters on shadow wings (Modified closed syllables)
The runaway crescent we planted back then
Tonight grows branches where wall corners begin

Chorus 1
You're my suspended star so bright
Shaking unnamed sand into night
Our unspoken horizon's flight
Becomes ink-washed dawn in chimes' light

【Interlude Spoken】
(Flute pause, voice with reverb effect)
"Jianghu is but echoes where palm lines unite"
(Dramatic adaptation from original)

Verse 2
Swords gleam under lanterns' sober glow
Cobblestones keep hoofprints from long ago
Wild geese skim your frost-touched pillow
Bringing ink-warm dawns from your window

Chorus 2
You're my suspended star so clear
Illuming letters' damp traces here
Mountains-rivers-paths appear
Signed with summer that needs no seer

Bridge
Aged tea brews time's circular scar (Temporal depth)
Chessboard roots where cicadas are (Dynamic imagery)
If years must take our childhood afar
Let chimes keep speaking what we are

【Electric Guitar Solo Transition】
(Bell-like electronic effects homage to Nunchucks fusion style)

Final Chorus
You're my suspended star so true
On moonlit branches where memories grew
Through deepening frost we pursue
Jianghu remains in palms' intersecting view

Outro
(Fading vocals + ambient sounds)
Chimes sway o'er unfinished chess
Blue robe sweeps last sand to rest
(End)

铜铃纪年(Chronicles of Bronze Chimes)

Divine Harmony" is a heartfelt musical piece that blends traditional instruments with synth elements, creating a soothing and uplifting atmosphere. After months of experimentation with the Moog 25 and Roland synthesizers, I've crafted a unique sound that balances the warmth of traditional instruments with the depth of electronic elements.

The creative process was challenging, but through perseverance and inspiration, I aimed to craft a sound that's both calming and inspiring. This track reminds me of God's peace and guidance, as reflected in Philippians 4:7: "And the peace of God, which surpasses all understanding, will guard your hearts and your minds in Christ Jesus."

In my own life, I've experienced God's peace and comfort in times of stress and uncertainty. This song is a reflection of that peace and the joy of creating something meaningful.

# Keywords
Here are 15 possible keywords:

#Divine Harmony
#Synth Music
#Traditional Instruments
#Relaxing Music
Divine Harmony" is a heartfelt musical piece that blends traditional instruments with synth elements, creating a soothing and uplifting atmosphere. After months of experimentation with the Moog 25 and Roland synthesizers, I've crafted a unique sound that balances the warmth of traditional instruments with the depth of electronic elements.

The creative process was challenging, but through perseverance and inspiration, I aimed to craft a sound that's both calming and inspiring. This track reminds me of God's peace and guidance, as reflected in Philippians 4:7: "And the peace of God, which surpasses all understanding, will guard your hearts and your minds in Christ Jesus."

In my own life, I've experienced God's peace and comfort in times of stress and uncertainty. This song is a reflection of that peace and the joy of creating something meaningful.

# Keywords
Here are 15 possible keywords:

#Divine Harmony
#Synth Music
#Traditional Instruments
#Relaxing Music
#Inspirational Music
#Christian Music
#Moog 25
#Roland Synthesizer
#Music Production
#Peaceful Music
#Uplifting Music
#Spiritual Music
#Electronic Music
#Instrumental Music
#Calming Music

# Essence and Significance
The track's essence lies in its ability to evoke a sense of peace and calm, reminding listeners of God's presence and guidance. Its significance is in the personal journey and creative process that brought it to life, showcasing the power of music to inspire and uplift.Inspirational Music


Divine Harmony       (optimize sound for headphones)

Instrumental piece for a theatre performance (contemporary dance). Inspired by the music of Dead Can Dance and progressive rock. A delicate melody on traditional instruments and a strong rock drums and bass.

Polski Chleb / Polish Bread

Snow Dance

漕ぎびと

Whispers of the Stream

💛💛Tabla💛💛Sitar💛💛 ॐॐ

CHAAL

CHAAL (extended)

A serene Indian instrumental featuring soulful flute melodies, traditional percussion, and ethereal textures. 

Mister Bigwig - Flute over Himalayas (NoCopyright Instrumental)

Since 2002, le Forum de la Création Musicale is the official composers association of Fédération Wallonie-Bruxelles, and is strong of more than 90 members. 
Le Forum holds two festivals : festival LOOP and Belgian Music Days; is giving a prize for young composers (prix André Souris) and is holding regular workshops and events.
Le Forum is ISCM Wallonia-Brussels section and a member of ECSA

Artist
Name : Taste
age : Unknown
Nationality : Unknown
Face : Unknown
Taste : Techno

Composer, songwriter, and performer working across film, installation, and personal song.

Music shaped through clarinet, voice, analog synths, and acoustic instruments — balancing form and intuition.

Rooted in minimalism, rhythm, and a Eastern European lyricism.

Sound as memory, movement, and presence — in Polish, Ukrainian, and beyond.

New tracks tagged #TRADITIONAL INSTRUMENTS