Deseos desde la arboleda JAM

Deseos Desde La Arboleda (jam)

I decided to use nylon strings on the two electric acoustic guitars I own. One day, after purchasing it online and overcoming some challenges, I dozed off for a while. Then I suddenly got up and started playing the blues, intending to tune it. I thought it wasn't that bad, so I just recorded it using a microphone. Since it's an electric acoustic guitar, it has a pickup, but I decided not to use it this time. The decision was made that it might be better to record with a microphone to take advantage of the tones of the nylon strings.

A7/D7/A7/A7
D7/D7/A7/A7
E7/D7/A7/E7

Winter Night Monologue - A7 blues

Winter Night Monologue - A7 blues  (SOLO) with a gut-string guitar

Sometimes The Heart Is All We Need

Spotify: https://open.spotify.com/intl-de/track/5FsPCoQ2Y9Z0OuG5kWDxDs?si=c03ccc558021498a
Youtube: https://www.youtube.com/watch?v=EUxKzif8IKI
Soundcloud: https://soundcloud.com/konrad-spittelberg/yearning

Yearning. The pain when you long for something and yet can't get it. When periods of depression and self-immersion are interrupted by outbursts of hearfelt desire and longing, only to collapse into themselves again. And yet, excruciating as this bittersweet state of mind is, the heart nevertheless seems to also derive pleasure from it.

Compositionwise: 
The track is of the form Intro (@0:00) - Main1 (@0:33) - Main2 (@1:29) - Diversion (@2:19) - Main3(@2:53) - Outro (@3:17)
Overall, the track lives from its sequence of low-energy parts and muffled outbursts. Over time, the track increases in intensity, in two ways: First, its speed increases from the Intro in the Mid 60s to the Low 70s lateron. Moreoever, the melodical intensity of the variations gets increasingly dense (see below) 

The track starts with a low-paced introspect Intro where the left melody line goes up and the right hand down. This contraction in the used space of tones resembles the seclusion of the proponent of our story. The desparation is underlined by sudden crescendos and abrupt falling back into pian(issim)o. This effect is held up throughout the remainder of the track. The left hand in the Intro follows a low-paced half note beat. The right hand first introduces the lead theme that is later varied in the parts (M, M', M'') but then modulates in a unique way that is not repeated throughout the track again.
@ 0:33, the Intro is over and the first of the main parts, Main1, starts. The left hand increases its intensity from here on throughout the track by switching to quarters instead of halfs. The lead theme is modulated with more energy (and will be ever more intense in the later variations of Main). After that, the track goes @0:57 into a series of outbursts and resignations. This series is repeated in Main2 @1:57 in more intensity and a chord inversion higher.
The Diversion is characterised by chord inversions that gently fall down, just like rain that pours down that window that our protagonist stares through. And then reaches the biggest outburst of the whole track.
Finally, after Main3, which includes the most intense version of the lead theme and harmonically altered variation, the piece finishes with a questioning yet pieceful end.

In mastering the piece, after MIDI editing, one of the challenges was to find the right balance between the plaintive metallic overtone-rich outbursts versus a rich and full sound for the resignative parts. I chose the Pianoteq Warm Peterov Mistral (with some minor tweaks) as the piano. On this, I used three basic Cubase-inate effects: (1) some light-touch EQ (a scaled-downversion of Basic Piano), (2) compression (Ratio of 1.8) and (3) Reverb (the Cubase-equivalent of the Goldener Musikvereinssaal in Vienna of course :-)). The mix has been balanced at -1db to allow enough headroom for the streaming services' normalization magic to happen ;-).

Yearning (Piano Miniature)

written by naldo
horn arrangement by guillaume
guitars by naldo
.....

v.9.2.1

Funky Voyager

un nouvel ambient, pour oublier un instant la folie destructrice des hommes, pour célébrer  à l'inverse le nom sacré de la Nature : la poussée, la venue au jour, la croissance de la vie sous toutes ses formes, au Printemps

Growing

It is a simple song about appreciating the beauty of the place where we live. I hope you enjoy it!

Evening Starlight

The Present

“Who stole Teddy’s cookie jar” short movie main theme. Now on Fetchflix

Teddy loves cookies and jealously guards his recipe for himself. He gets help from a team of tiny bunnies and cats because his fur makes him rather clumsy. However, yesterday’s batch was stolen. Will Teddy and the tiny rabbits and cats team be able to recover the cookie jar? 

“This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. Ho and for those who did not get it, Fetchflix TV is also fictitious.” 

Music: Syrel
Photography: Syrel, Book Cover (1987)

Musical notes: This theme could have been the main theme of the series “Only Murders in the Building.“ but hey, Siddhartha Khosla did such a wonderful work composing her theme that it would be a sacrilege pretending I could do better. Thanks to Tchaikovsky and Saint-Saëns for their help on mine ;o)

Who stole Teddy's cooky jar

You call me up
Let's do a movie
You know it's gonna be fun
Now should I go or just say no
"cos I can't stand the pain

Stuck between a friend and a lover
Find myself here again
Stuck between a friend and a lover
Again and again

You knock my door
Say come on out
Why don't we both go to the beach
Lay in the sun
It'll be such fun
But you're still out of reach

Stuck between a friend and a lover
Find myself here again
Stuck between a friend and a lover
Again and again

Instrumental

Stuck between a friend and a lover
Find myself here again
Stuck between a friend and a lover
Again and again

Outro

Stuck Between a Friend and a Lover

This double-cycle work is the living scripture of Oblige — a continuous journey through mourning, memory, forgiveness, and union.
The album begins in the humid streets of New Orleans, where the dead are carried by brass and rhythm, and ends in a private universe where two bodies merge into one breath — heaven not as a place, but as perfect sync.

It’s both a funeral and a birth, a sermon and a confession.
Every track evolves sonically, emotionally, and spiritually — moving from earthly brass and drum to industrial gospel storms to chamber intimacy and, finally, into silence glowing with life.

Nothing repeats.
Each song transforms what came before — the tuba becomes thunder, the thunder becomes breath, and the breath becomes love.

Hallelujah in Reverse

My music is dependent on where inspiration takes me. I hope you enjoy something here!

Evening Starlight

TSM