It's Just The Way That I Live

A track I had to put together for an ear training course.

Drone provided by:
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Cello Drones for Tuning and Improvisation

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Released on: 2003-01-01

D Lydian Call and Response

Creative Process:

I used serum to make a horn like synth, without a preset. I tweaked the sin oscillator by using "Bend-", adding 7 voices, automating the filter, and adding J106 noise.

I made pluck synths by using triangle and saw waves, with 5 voices each. I then automated the filter.

I then made a pad synth with the same oscillators, but I changed the filter automation and added MicrKrg noise.

I then added a sample of a beach, added a music box, and added drums.

Chord Progression:

[Eb/Ab, Eb, Fm7, Eb7]

Project Assignment 4: Call and Response

This is a track I produced as an assignment for an ear training class. It features call and response with the Phrygian Mode in 3 keys.

Phrygian Call and Response

"The River Remembers Blues" is a soulful folk-blues song that captures the essence of resilience and awakening. Drawing inspiration from the journey of a river, the lyrics convey a powerful narrative about transformation, strength, and the inevitability of one's path. Through a heartfelt call-and-response structure, the song invites listeners to reflect on their own journeys, emphasizing the importance of embracing change and flowing with the tides of life. With its evocative imagery and memorable refrain, this song resonates deeply, making it a poignant anthem of self-discovery and liberation.

Lyrics: 
Intro (Spoken or sung softly)
Oh, the river...  
It’s been still, it’s been silent,  
But the river remembers, yeah, it knows its way.  

 Verse 1
I was a whisper in the mountain’s heart,  
Oh yeah, I was just a seed.  
(A whisper in the mountain’s heart...)  
Forgotten and quiet, but I was always meant to be freed.  
(Oh, I was always meant to be freed...)  

 Chorus (Refrain)
Oh, the river remembers, yeah, the river knows,  
Through the stone, through the silence, it flows and flows.  
When the rains come down, and the waters rise,  
The river sings, oh, the river flies!  

 Verse 2
I wandered through the lifetimes, baby,  
Through the rock and through the dirt.  
(Wandered through the lifetimes, baby...)  
Through the seasons of silence, oh, I’ve known the hurt.  
(Oh, I’ve known the hurt...)  

But now the rain is fallin’, and I feel the ground shake,  
I’ve been gatherin’ my strength, now it’s time to awake.  

 Chorus (Refrain)
Oh, the river remembers, yeah, the river knows,  
Through the stone, through the silence, it flows and flows.  
When the rains come down, and the waters rise,  
The river sings, oh, the river flies!  

 Verse 3
I carved the canyon, baby, where I used to crawl,  
(Oh, I carved the canyon, baby...)  
I danced through the valleys, oh, I answered the call.  
(Oh, I answered the call...)  

They said, “Where’d this flood come from?”  
“How’d it break so free?”  
But the river just smiled, said, “I’ve always been me.”  

 Bridge (Build momentum)
Through a thousand lifetimes, yeah, I’ve been on this road,  
Through the lessons, through the silence, I carried the load.  
Oh, when the flood of knowing comes, don’t you fight the tide,  
You’re the river now, baby, just let it ride!  

 Final Chorus (Refrain - Big and soulful)
Oh, the river remembers, yeah, the river knows,  
Through the stone, through the silence, it flows and flows.  
When the rains come down, and the waters rise,  
The river sings, oh, the river flies!  

Outro (Spoken or sung softly, fading out)
Oh, the river...  
Always been on its way.  
Always been on its way...  



The River Remembers Blues

Duel and Duet is a playful, dynamic track that features a witty back-and-forth of motifs, capturing the essence of a musical duel. With contrasting rhythms and melodies, it creates an engaging and theatrical battle of sound, where each moment builds toward the next.










Duel Duet

C.A.R.*–	Josie And Chloe from 2000 KindercoreFifty compilation

Josie and Chloe

Call and response children's song often used at Shabbat services.

Shabbat Shalom Call & Response

Most of the lyrics are the title of the song, with children encouraged to follow along with mimicked sound effects.

Bom Bom Biddy

This songs is a jam, a party- a mission! 
Inspired by a women's lesson to follow Jesus, it was half written while driving to church! 
Follow Him, Praise Him, Trust Him and Love Him and you will experience life to the full! 

Follow The Lord

progressive house song with a tempo of 126 bpm that is melancholic, in a G minor scale. female vocal sung in spanish, which translated would be roughly that the music brings her in all sorts of places, she calls at you "papi" (daddy/love/friend) to come dance and enjoy life with her. (not an exact translation at all, but word per word or exact translation cannot be done so a rough estimate of how it would be in english should do). 
FREE DOWNLOAD

AYE PAPI

AYE PAPI - FREE DOWNLOAD

Modern take on the style of traditional field hollers, with a metaphoric river

Wide Old River

Rhythmic trance track with deep melodic break in the middle 

Ignite

“Mwito wa Mababu” is one of the most personal and profound collaborations I've ever been part of.
Working with SAFA MOYA felt more like answering a spiritual call than making a track. Her voice doesn’t just sing – it remembers. Through every phrase, you can hear the echoes of generations and the pulse of ancestral ground.

The idea was clear from the beginning: to keep the essence pure. We built the song around raw, acoustic elements – claps, foot stomps, kalimba – recorded in open, natural space. Nothing synthetic. No tricks. Just the human voice, leading and responding, connecting to something older than all of us.

And then came the moment of expansion. For a brief passage, we opened the door to a cinematic deep house atmosphere – just enough to carry the spirit further without distorting it. Pads, subbass, and a gentle pulse that breathes beneath her voice, like a memory carried on wind.

This track is a call across time, a song for the soul and the soil. I'm incredibly proud of what we created together. Thank you SAFA.

- Tom Lysar

Mwito wa Mababu (feat. Safa Moya)

A fiery bluegrass-gospel showstopper where Eve reclaims the Fall with swagger, wit, and girl-group harmonies. Righteous, rebellious, and irresistible.

A Food Truth Revival

I Don't Give a Fig (What You Say)

License/Purchase

A stripped-down gospel soul version of “Pass the Peas,” delivered with quiet conviction and foot-worn grace. A female voice—weathered, warm, unwavering—leads the way through verses of legacy, struggle, and ritual. Acoustic and unhurried, this take trades groove for grit, with harmonies rising like memory behind her. It’s not performative—it’s practiced. An altar made of wood, breath, and repetition.

Pass the Peas

Lyrics/License

Pass the Peas (Gospel Soul)

Next Life is a cheeky farewell dressed up in a funk groove — a sarcastic “see ya later” to a love that never quite fit. With sharp one-liners, swaggering bass, and a chorus that bites as much as it bounces, it’s a bitter goodbye you can dance to. It’s funk with a smirk and a middle finger.

Next Life

A high-energy, instrumental jazz-funk piece in a major key, featuring a prominent brass section, a walking bass line, and a driving drum beat. The tempo is upbeat, creating a lively and danceable feel. The primary instruments are a trumpet, trombone, saxophone, electric bass, and drum kit. The brass section plays a call-and-response melody, with the trumpet often taking the lead. The bass provides a consistent, rhythmic foundation with a walking pattern. The drums maintain a steady, syncopated groove with prominent hi-hat and snare work. Production elements include a clean mix with clear separation of instruments, and a slight reverb on the brass to add depth. The song structure is primarily verse-chorus, with instrumental breaks allowing for improvisation-like melodic variations within the brass section. There are no vocals present in this piece.

an anxious night at the hotel

Mmm, yeah…
You point your finger,
But I ain’t the only sinner.

You tell your friends I’m the one to blame,
Every little story, always my name.
But sugar, look who’s talking loud,
Acting so righteous, playing to the crowd.

You say you’re tired, you say you’re through,
But honey, I’m just as tired of you.

Shame on me? Are you kidding, girl?
You’ve been spinning lies all over the world.
Don’t play that saint, don’t twist the truth,
Shame on me? No, shame on you.

You cry at night, but it’s crocodile tears,
Drama on repeat for a couple of years.
You talk of vows, but you broke them first,
Pointing at me just makes it worse.

Don’t preach to me ‘bout love and pain,
When you’ve been running the same old game.

Shame on me? Are you kidding, girl?
You’ve been dancing lies in your shiny pearls.
I won’t chase, I won’t play the fool,
Shame on me? No, shame on you.

You throw the stone—
But your hands ain’t clean!
You wear the crown—
But you’re no queen!
We built this fire, both struck the match,
Now you’re crying ‘bout the scratch.

Shame, shame, shame… (uh-huh)
On who, on who? (not me, not me)
You say my name, (say my name)
But girl, look at you!

Shame on me? Are you kidding, girl?
You’ve been spinning lies all over the world.
I won’t beg, I won’t be your fool,
Shame on me? No, shame on you.

Mmm, shame on you…
Not me, girl…
Shame on you.

Shame on me ?!? (Motown reload)

Electronic music producer & composer.
https://linktr.ee/SpeakingColors

For ten days I'm in RELOAD mode, reworking all my creations from the past twenty days and transforming them into a different musical universe
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.

Please like and share. 
Welcome to the musical world of The William Altig Choir, where ancient wisdom meets contemporary sound.

Inspired by the teachings of the Lotus Sutra and infused with deep spiritual themes, my music blends the rich traditions of blues and folk with modern elements, creating a unique fusion that resonates with both the heart and soul.

I've been captivated by the Lotus Sutra's messages of compassion, wisdom, and transformation since my youth. It's a journey of self-discovery that has found its voice in my music. Each song is a reflection of my own spiritual awakening and a celebration of universal truths.

My style is characterized by emotive storytelling, powerful lyrics, and a commitment to exploring the depths of human experience. Featuring contemplative blues, acoustic slide guitar, saxophone melodies, and the harmonies of a gospel choir, my music reflects a quest for enlightenment and a better understanding of the self.

Join me on this musical journey. Together, we can explore the teachings of the Lotus Sutra, finding solace, hope, and a deeper connection to the world around us.

#SpiritualMusic  #LotusSutraMusic  #ContemplativeBlues  #BuddhistGospel #AcousticSlideGuitar  #GospelChoir  #Self-Discovery  #SpiritualAwakening  #Hope  #The_William_Altig_Choir

Susan Salidor is an award-winning children’s music composer and performer with the heart of a teacher.  She has released eight albums of original and traditional music and is the author, along with Ukrainian illustrator Natalka Soiko, of two picture books for young children, I’ve Got Peace In My Fingers and One Little Act of Kindness (Sideline Ink Publishing), based on two of her most widely-known original songs.

Russell "Hitman" Alexander is that guy you probably know: he worked as a musician his entire life, but ended up also doing other things to support his family. After numerous albums, international tours, and critical acclaim, he’s still fighting.

Like, follow, comment, share. There's more coming. Always.

See phrases.pub for lyrics, licensing, and a full, searchable catalog.

Phrases and Phases Publishing is a one-man label, archive, and reality-refraction field. Founded by J. Adam Walters - lawyer-turned lyricist, satirist, and architectural dropout from polite society - it's the home for songs that shouldn't exist, poems that go to far, and fictional universes with better paperwork than the Library of Congress. 

From folk elegies to parody rap to theocratic cartoon trauma epics, everything here is written by a human who uses AI as a collaborator and instrument rather than an outsourced brain, and finished only when it reaches a space where laughing hurts, or hurting laughs.

Welcome to my SoundCloud page. My tracks are mostly highlighting my bass playing. I also play guitar, ukelele, some keyboard, sing, and whistle. Thanks for checking out the tunes.

I am a passionate singer songwriter, Mom and teacher. I love to create music that brings hope in God. I love to pass it on!

Tom Lysar creates electronic music with an emotional core — shaped by atmosphere, structure, and instinct. His compositions don’t follow fixed genres but emerge from moments, moods, and inner imagery.

Much of his music is rooted in an extensive archive: early studio sessions, unfinished sketches, and custom loops originally crafted for sample packs, background cues, and small creative projects such as indie games and online content. In 2025 he began reshaping this material, refining old fragments into finished works and aligning them with his present sound. The result is a continuous flow of releases that feel both timeless and immediate — carrying the depth of past explorations into the present.

In his work, sound, memory, and motion merge into a fluid musical expression. Each track becomes an invitation: to drift, to remember, or simply to feel.

This is music that doesn’t confine — it opens space. Between light and shadow, closeness and distance.

🎧 Available for external projects (DJ sets, video, sync etc.)
📩 Just get in touch

🌐 More links below

Listen!, I have alot to say!

I have been transposing music in Black Desert Online for years now, I am taking a break and trying something new!

AI-ASSISTED, multi-genre producer from Australia. I co-write concepts with chatGPT (mostly sanity check or style guides, almost all of the lyrics are my own), guide a Suno pass, then rebuild: swap/overdub parts, arrange, add, remove, mix & master. References run from Level 42 and Mike Oldfield to KLF-era rave, drill, garage and demoscene.

Music as a mirror: stories, satire, ideas, thoughts and feelings, From wit to absurdity, from glitch to groove, every track is an experiment in bending AI into something tangible.

If it makes you happy, then thats all that matters!

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