Edmund Spencer's The Faerie Queene
Book 5 Canto 6 verse 5

As if before she had not counted trew.
  For houres but dayes; for weekes, that passed were,
  She told but moneths, to make them seeme more few:
  Yet when she reckned them, still drawing neare,
Each hour did seeme a moneth, & euery moneth a yeare


10/8 [akin to Armenian Jurjina rhythm] with emphasis on 1[3]468
and some 3/4 or 3/8 and 4/4

[In/out] of Time        Music for String Quartet and percussion

Musicien  , guitariste , bassiste et "chercheur de musiques" . Je suis avant tout un musicien de jazz mais toutes les musiques ( presque ) , tous les instruments m'intéressent . J'espère que vous aimerez !
De plus , vous pouvez écouter mes découvertes musicales ici : soundcloud.com/Claude-592467359

Music duo since 2016. Happy to collaborate with musicians all over the world, feel free to reach out with ideas and feedback! Not interested in “follow for follow / like for like” schemes. I like what I like. No need to pay me back. Genuine interactions only, please ꕤ,

tar


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All rights reserved.

I am a singer-songwriter-guitarist. I have a home studio and have produced most of my songs and instrumentals there. Please check out my website at https://robrienmusic.com and get a free download for email list signup.



 I have had several collaborations with other artists that I've met on Souncloud and hope to continue doing so. 

I'm extremely grateful to have had over 25,000 plays and over 1,600 followers and friends among the Soundcloud community. I believe that it is important to support Soundcloud artists and I appreciate their support.


I hope that you will give a listen to these tracks and share your thoughts about music and recording. If You like what you hear, please follow my channel and like and repost my tracks.

Classic, folk and experimental amateur. 
For the Fractofusus tracks that were on this page before, go to soundcloud.com/fractofusus, a new site dedicated to Fractofusus's music.

Thanks for listening: I am always very grateful for your open ears and minds.

For more streaming sites:   https://hyperfollow.com/allenkwright

Violin
 
https://www.youtube.com/channel/UC75yod6RSSe4JLRdhnW8StA

I am a composer and producer of instrumental music in several genres, including ambient soundscapes, electronica, orchestral and chamber music.  

Musical influences include John Coltrane, Igor Stravinsky, Gustav Holst, Claude Debussy, Maurice Ravel, Tangerine Dream, Robert Prince, Frank Zappa, Brian Eno, Heinrich Ignaz, Franz von Biber.

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.

I was born in Leicester in the late 1950's. Since semi-retirement and subsequent retirement (as a Dermatologist and formerly G.P) I have spent some of my spare time trying to learn music theory. I also enjoy long distance running as well as cycling, skiing and tennis. I enjoy cooking, gardening and growing a few vegetables. And fine wine (in moderation). I enjoy insect photography, with a particular interest in hoverflies..
To my regret I never learnt a musical instrument when younger but I have listened to and been fascinated by music for as long as I can remember. The advent of the computer age has allowed me to pursue my desire to compose music. I use Logic Pro X software (and MuseScore3 for recent piano compositions). My compositions reflect my varied listening preferences (including Contemporary Classical, Jazz and  Music from other cultures around the world).

Tell “the world” about yourself is a little much to ask for.

[In/out] of Time Music for String Quartet and percussion

SFJ