Name: The Harrowing by Jeremias Langsämmer. Contemporary classical. by These Guitars Say Sorry in Jeremias Langsämmer *
Duration: 6 min 55 s
Description: "The Harrowing" by Jeremias Langsämmer experiments with mood and timing. The tension between notes on the piano played in irregular time, hanging in the air, expecting to be played but absent. A mournful and at times and atonal classical piece that resolves to a halting piano melody, synth drone and arrhythmic timpani.

wow accordion clean and mind blowing sounds

MELLOW AND SOOTHING VIBRATIONS. GREAT USE OF DIFFERENT INSTRUMENTS.

What a sound man, the harmony is wonderful

Wow, I haven't heard your music in a while, this is really interesting! Very evocative.

Seriously scary intro and undertones going through the track with strings playing intensely melodies full of longing. Then it develops with beautiful high drones of intense yearning. Epic track

Jeremias Langsämmer *

"Falling On My Feet" by Jeremias Langsämmer is a peaceful piano and string composition that uplifts and inspires. With its tranquil melodies, it creates a calming atmosphere, perfect for moments of introspection and relaxation. The harmonious blend of piano and strings delivers a soothing experience, offering solace and rejuvenation to listeners. This classical soundtrack is ideal for those seeking a serene and uplifting musical journey.

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Support this independent artist's work on Patreon at https://www.patreon.com/tgss where for as little as $1 a month you will receive a new composition weekly.

Falling On My Feet by Jeremias Langsämmer. [Peaceful piano music]

After The End by Jeremias Langsämmer, a classical and symphonic piece inspired by Debussy, paints a dreamscape with strings, horns, and piano, evoking a serene and ethereal mood. Through lush harmonies and delicate melodies, the piece transports listeners to a tranquil place, where sunlight dances through the leaves and a sense of peaceful introspection pervades. Keywords such as soothing, calming, dreamy, and reflective aptly capture the essence of this evocative composition, inviting listeners to immerse themselves in its serene beauty.


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Support this independent artist's work on Patreon at https://www.patreon.com/tgss where for as little as $1 a month you will receive a new composition weekly.

After The End by Jeremias Langsämmer. [symphonic poem].

Step into a world where emotions resonate in each note, where the piano becomes a vessel for the depth of human connection. "Lunch At The Hawthorne" by Jeremias Langsämmer invites you into an intimate journey, reminiscent of Max Richter's poignant compositions. 

As the keys gently cascade, they weave a tapestry of tender moments and profound sentiments. Langsämmer's mastery of classical piano shines through, evoking a sense of warmth and nostalgia, like a cherished memory shared with someone dear. Each chord resonates with layers of emotion, echoing the intricate nuances of human relationships.

In this musical narrative, time seems to stand still, allowing the listener to bask in the beauty of the present moment. The melody ebbs and flows with a delicate grace, inviting reflection and introspection. It's a serene oasis where the complexities of life melt away, leaving only the pure essence of love and companionship.

"Lunch At The Hawthorne" is more than just a piano solo; it's a testament to the power of music to touch the soul and transcend the ordinary. With Langsämmer's artistry, every note becomes a whispered confession, every phrase a heartfelt embrace. So take a moment to immerse yourself in this symphony of emotions, and let it transport you to a place where love reigns supreme.

Lunch At The Hawthorne by Jeremias Langsämmer. Piano. Classical piano solo.

Taken from Jeremias Langsämmer's 3rd album "The End Of Everything", "You Defined Me" is a mournful orchestral piece from which shards of piano emerge.

You can preview the album here https://soundcloud.com/these-guitars-say-sorry/sets/the-end-of-everything

You Defined Me by Jeremias Langsämmer

"The Harrowing" by Jeremias Langsämmer experiments with mood and timing. The tension between notes on the piano played in irregular time, hanging in the air, expecting to be played but absent. A mournful and at times and atonal classical piece that resolves to a halting piano melody, synth drone and arrhythmic timpani.

The Harrowing by Jeremias Langsämmer. Contemporary classical.

A haunting piece from Siegfried Jünger's new album "Damage".

Vein by Siegfried Jünger

SAVE ON SPOTIFY:
https://open.spotify.com/track/343O93sksFUQjXuajLoLYP?si=bd8e868818ae4a75

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Funky Man

Lyrics

You lose yourself in bad memories  
Of a time that you wish no one
You feel the cold coming up inside you
Your heart breaks in full longing
You want to order your mind
In a chaotic world but it doesn’t work
Yeaaaar
Scream
Scream
Let it Out
Let it Out
Were’s my quest
Were’s my quest
Let it Out
Let it Out

Let it Out
Let it Out
Let it Out

Bad Mamories

Bad Memories

Nowhere Voices

Station B

Buy at BC

THANK YOU ALL FOR LISTENING TO MY MUSIC!!! :)

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New Age X

Independent

Free Download

This was done urgently, an urgent need for sweetness and tranquility. I think it's the first time that I haven't exceeded the 100bmp and I like it... Enough talk, time for bliss!

Bliss

Atmospheric track recorded to cassette back in 1991 on an album of tracks called Elements of the Earth

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Elements of the Earth

Elements of the Earth, Pt. 3

HD Download

Elements of the Earth Pt. 3 (1991 Demo)

Six Three
1: Six Three, 02:32
2: Six Three Touch, 03:00
3: Six Three Orbits, 03:39
4: Six Three Particles, 02:13

Dates:
05-Dec-2025 (inception), 06-Dec-2025 (finalised), 07-Dec-2025 (released)

Artists:
Music composed, performed, produced by Norman Freund
Artwork by Norman Freund

BandCamp Purchase:
https://normanfreund.bandcamp.com/album/six-three

SHORTEN VERSION, excludes Table 1 tuning, see my BandCamp site or my social media page for full details (https://www.facebook.com/norman.freund.545/)

Description:

Marcelo Leal Ref. [1] posts an article on FaceBook group, "Microtonal Music and Tuning Theory" and tags me, I looked on with interest. A tuning scale developed using at most harmonics one through to and include sixty three, octave reduced (i.e. divided by powers of 2 to ensure the frequency ratios remained within the 1. to 2. range. 32 Notes were used in this scale with adjacent note intervals starting from 53 cent, gradually reducing to 27 cent for the last interval to the first octave. So loosely speaking a quarter tone tuning with some stretching. I have tried quarter tone equal divisions of the octave tunings (24EDO) in the past and could not really get warm with them. Still, I was intrigued. 

Thirty notes, a lot of intervals to imagine, so I thought some form of colour coding on my Ableton Push2 midi controller would help. My Digital synthesiser, PulseRectOsc has micro-tuning and a user definable colour table, so switched this on and began experimenting. Stepping back just a bit, some preparation work on a spread sheet was necessary to calculate the frequency ratios, figure out a colour system using nearest 12EDO notes as a frame work.

The colour coding was to start the root note out as RED (1), colour all the diatonic notes of the nearest 12EDO major scale notes (the white keys on a piano) in GREEN (10), colour the nearest 12EDO sharp accidentals (#) in BLUE (15) and what was left over (the ^ and \/'s) coloured in PURPLE (18). The note naming convention used here was intended as a performer guide.

The PulseRectOsc synthesiser is a drone with a pulse like wave shape, amplitude modulation, wave folder distortion, a delay+feedback net work and your choice of VST reverb (or other effect). I used the Native Instruments' Raum for reverb. PulseRecOsc has an eight track audio recorder, so I recorded some four note chords to improvise over on the Soma Lyra 8.

The Soma Lyra 8 tuning approach was to tune it by ear to eight notes from the Table 1 tuning for the first track prior to the performance, then improvise a melodic line. Subsequent tracks would use a different four note drone chord from the PulseRectOsc and the Lyra 8 would use the tuning from the previous track as a starting point but alter the tuning during the performance. Each performance would introduce additional entropy into the tuning as performed on the Lyra 8, all done live, by ear, during the performance.

Each track's duration was purposely kept short, I wanted to demonstrate the various flavours of the 63-Limit Otonality tuning and in Lyra 8 style interpret this tuning organically.

The signal chain for the Lyra 8: mono out to the Soma COSMOS (rhythmic firmware, adds reverb and stereo space) -> stereo to digital interface -> 8 track recorder of PulseRectOsc.

The tuning of the Lyra 8 is very organic, is influenced by adjacent oscillators and has a "MOD" dial to accept frequency modulations from what it calls a "Hyper LFO". The Hyper LFO comprises of two low frequency oscillators, I used them here in the OR mode not synchronised, each pulse of the LFO changes the oscillator voice frequency according to the MOD dial. You don't control it strictly, more like guiding it, you listen and decide to increase or decrease the amount of modulation. A very organic approach.

References:
[1] Marcelo Leal, 5-Dec-2025, 63-Limit Otonality by Pitch (tuning scale). FaceBook group "Microtonal Music and Tuning Theory" Link: https://www.facebook.com/share/p/1asmaHiK7G/

Six Three

Sad and mournful cello accompanied by ethereal voices about the tragedies of war. Spanish sounds harmonie

Acheter

Gaza

The story of Swiss guy Willy Pitz.

We often hear that we sometimes put mental barriers that limit ourselves and prevent us to succeed. Even it’s most of time an unconscious process, I am quite sure this is right and indeed frequent. Thinking about it made me realize that, for some unfortunate people, in a difficult context, it may go even further. Some may not even give themselves the permission to live the life they want, for multiple reasons or, worse, without any reason. It’s probably something not so far from a depression.

Yeah, that sounds a little discouraging reflection, I admit. But it was actually kind of good fun to imagine what it is to be in the mind of someone deep in this self-sabotage enterprise, create this punk-like story about the guy and make it a song! It was entertaining to do and, by a twist of fate, it now actually lifts my mood every time I listen to it!

It goes without saying that the name of my anti-hero is invented, chose for its rhythm and sound, that was just fitting my mood and creative moment. 
The cover is based on the original illustration by MaKo.

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▶COVER◀
MaKo: https://instagram.com/marketka1975

Willy Pitz

“ ….There is a crack in everything, that’s how the light 
   gets in … “

Sorry, I cannot read or send private messages. Try to contact me on Ig: pativio. Thanks

These Guitars Say Sorry is the banner for a diverse range of artists, from UK singer-songwriter These Guitars Say Sorry to classical composer Jeremias Langsämmer along with his ensemble, Icelandic post-rock band Laxá with the Heima Kvartett, ambient artist Siegfried Jünger, and Doom Jazz ensemble The Dark Messiahs. Founded by Jez Stephen, who incepted all the projects, the label has released over 30 albums, crafting a unique sonic identity across genres.

Since 2021, These Guitars Say Sorry has released a track every week, later compiling them into albums available on all major platforms. Explore the catalog on Bandcamp: https://theseguitarssaysorry.bandcamp.com/ and support the work for as little as $1 a month on Patreon: www.patreon.com/tgss.

The Harrowing by Jeremias Langsämmer. Contemporary classical.

These Guitars Say Sorry

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