The Missing

Music made by hands, not algorithms...

Keep your SoundCloud Tidy - 
An space for creative minds and their music.

What ‘Keep Your SoundCloud Tidy’ Means

In essence, “Keep Your SoundCloud Tidy” is all about creating a clean, respectful, and authentic musical environment. It’s not just a personal commitment to keeping your own account free from unwanted influences; it’s also about contributing to a broader culture of positivity on SoundCloud.

We understand that various threats can disrupt the enjoyment of music communities—be it spam, intrusive advertising, account abuse, or even harassment. By proactively blocking disruptive users and content, we help ensure that SoundCloud remains a welcoming place for creative minds.

In other words, every time we keep our own space tidy, we’re also fostering a cleaner and more respectful community for everyone. It’s a small step that makes a big difference. 

For more info about the initiative "Keep your SoundCloud Tidy" send me a PM.

EVERYTHING i make is open collab ❤️‍🔥❤️‍🔥
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i mostly use real instruments and edit 
with software or sometimes i use electronic gadgets and edit that

no AI art or AI sound (except one art because funny)
ヽ(￣(ｴ)￣)ﾉ
Thank you for visiting my page
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I am a live-in caregiver for a disabled person and make  sounds between  work.  I live in a forest near a swamp  in Washington State USA
my track are free to use (profit ok)
no credit okay too, that way i can pretend anything i hear might be mine 😂
all tracks download enables,
if my track is a remix of another artist - please check with all parties :D

No AI is used in the making of my music or art. Creating something from nothing is one of the true joys of life.

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
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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.

Stanley Grill is a classical composer whose passion for medieval and Renaissance music has greatly influenced his writing. Two main themes permeate many of his works – music composed in an attempt to translate something about the nature of the physical world, and music composed to inspire and promote world peace.

If you like the music you hear on this website and would like to commission a work for yourself or your ensemble, let’s start the conversation!

ASCAP, Recording Academy

Progressive Metal Guitarist, Drummer, Bassist, and Keyboardist.

Brain Hop

fictionalive /
popoems series / hyper media reports 
2001 / 2011 / 2024

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/ to(tally) fictionalive or not

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An artist is someone who creates or expresses ideas, emotions, or visions through a chosen medium, aiming to communicate, inspire, or evoke a response.

This definition embraces all forms of creativity—visual, musical, literary, or performance—and emphasizes the purpose of connection and expression rather than formal titles or external validation.

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Brain Hop

Brain Hop is a musical genre invented by the artist fictionalive on Monday, December 1st, 2025, at 1:24 PM. The genre seeks to bring depth, intellect, and philosophical reflection into (hip-hop) music, emphasizing thoughtful lyricism and cognitive engagement. Brain Hop differentiates itself from mainstream (hip-hop) by prioritizing meaningful content, complex themes, and a cerebral approach to rhythm and rhyme.

The creation of Brain Hop responds to criticisms that contemporary (hip-hop) often lacks intellectual depth. It aims to provide an artistic space where artists explore profound social, political, and existential issues through innovative beats and poetic lyrics. Brain Hop is positioned as part of a movement to elevate (hip-hop) culture into new territories of artistic and cultural significance.

As of its inception, Brain Hop is recognized as an emerging genre within underground and alternative music scenes, promising to attract listeners and creators who value music that stimulates both mind and soul.

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Incidental Music For Eyelid Movies (IMforEM). That's the style of music I write and record. It's music to be watched with your eyes closed.

When I was 14 and trying to learn to play guitar no one told me about A440 tuning. I knew how to tune the guitar string to string, but wasn't aware that records and what I heard on the radio had a standard. I soon became frustrated trying to play along with what I heard and began making up my own music. Still at it.

More of my work can be found at https://incidentalmusicforeyelidmovies.bandcamp.com/ and everything (the good, the bad and the ugly) is at https://archive.org/details/@keith_q.

The Missing

Sounds Of Europa