Diogenes

Compositeur arrangeur : Philippe SEGUINARD
Auteur mélodiste : Guillaume DULER
Lyrics :
Rêves embrumés éphémères danses
Poussières de nuit voilées de silence
Dormir sur la Lune
Voleurs de vent  souffleurs de nuages
Flou d'amours denses à l'état sauvage
Dormir sur la Lune
Apprivoiser nos murmures
Abandonner nos armures 
Dormir sur la Lune
Caresser nos sensations
Effleurer nos émotions
Dormir sur la Lune
Nager sous l'eau delà des courants
Flotter de rives en rives en rêvant
Dormir sur la Lune 

Foggy dreams, ephemeral dances
Night dust veiled in silence
Sleeping on the moon
Cloud-blowing wind thieves
Blur of dense wild love
Sleeping on the Moon
Tame our whispers
Abandon our armor 
Sleeping on the Moon
Caressing our sensations
Touching our emotions
Sleeping on the Moon
Swim underwater beyond the currents
Floating from shore to shore dreaming
Sleeping on the Moon
© Guillaume DULER / Philippe SEGUINARD  2022

Dormir sur la Lune   TRANSLATED

Trying something a bit different here, or am I?
Working on the old fashioned broken heart style song, such as "Sealed With A Kiss".  Haven't tried this before so we'll see how it comes out. 


Valentines Heart

They Live We Sleep

Wobble

Listen

T-8 Reverberated Acid

Hopes and Dreams

Live Reflexion#022 (extended)

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Chills (2025)

Contemporary work for String Quartet, Woodwinds and Percussion.

My Method of Composing and Producing

I'm sharing my method of composing and producing music recordings in case other composer-producers like me might find ideas worth exploring in their own work. I use this method for Classical, Avant-Pop or Neo-Folk Instrumental genres, not for Ambient and Soundscape pieces. Non-composers might find this explanation interesting, but having a bit of music theory background will definitely help. I consider myself a humble learner when it comes to music theory. 

I owe a debt of gratitude to British musician and educator Gareth Green, whose Music Matters online courses and free YouTube lessons have taught me so much over the past few years. Thanks to his instruction, I’ve moved from struggling to compose music by trial and error to something more enjoyable and productive. The knowledge I've gained has taken my work in new and expanding directions. As the saying goes, “Theory is not a cage — it’s a map. It doesn’t make the journey for you, but it keeps you from getting lost.” 

When I start a new piece, I begin by choosing a key, and picking a scale drawn from one of these sources:
 
1) Western Tonal / Functional Harmony - major or minor chords I II III IV V VI VII
2) Modal Harmony - Dorian, Phrygian, Lydian, etc.
3) Slonimsky's "Thesaurus of Scales and Melodic Patterns" 
4) Messiaen’s "Seven Modes of Limited Transposition" 

For many pieces, I also decide on a progression, one as a simple as I IV V, or something more elaborate.  

Next I create a "scales and progressions" piano track in my DAW (digital audio workstation software) and enter the chords I to VII in my chosen key. These harmonized scales serve as a basis for writing multipart harmonies and finding pivot chords for key modulations. 

At the start, I know what instruments I want to use, making adjustments along the way. I tend to write chord parts first, then melodies created through a mix of improvisation and direct input in the DAW. Sometimes I start with a melody.

I develop melodies and variations of a phrase by some combination of: a) passing it from one instrument to another, transposing it by an interval that sounds pleasing, b) reversing it, c) inverting it around the tonic (first) note of the scale. These are well-known methods. 

After completing a section, I choose another scale and maybe a new key and repeat the process until I have a draft of the entire piece. Then I export a recording and listen to it “offline”, take notes of errors and new ideas, and incorporate them back into the piece. Often this “compose / listen / compose” cycle is repeated many times. These iterative cycles include adding new ideas, polishing transitions between sections, changing the arrangement, and incorporating expressive details like accents, and articulations (staccato, sustain, portato etc.). I’m often working several different pieces at once. 

Last is mixing and mastering: balancing the loudness between instruments and adjusting elements like reverb, compression, and equalization. I tend to mix as I compose, even though many producers frown on that approach. I find mixing as I go helps me envision the completed piece and make adjustments to the choice of instruments; it self-inspires me when the piece is starting to sound good.  At the end I do a final mix, but as the saying goes, “A mix is never finished — it’s surrendered.”

In the end, this method gives me a basis for exploration and creativity and helps me stay focused. The goal is always to make a piece of music that feels expressive, cohesive, and emotionally resonant.

Suite for Chamber Ensemble 2024

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This is a filtered preview — full unfiltered edit available here
https://hypeddit.com/djexpress/sweetladyexpressedit

Unofficial edit for DJ/promotional use only. All rights belong to Tyrese and his label.

Follow DJ Express for more edits & remixes.

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