Une véritable fantasmagorie de voix et de sons, qui restera gravée dans les mémoires. Magnifique comme toujours, Jacques !

Very nice piece, and it corresponds well with the picture presented!

wonderful sounds and music..... fantastic composition.... marvelous track 💯💯💯

Very nice synthesizer work..mesmerizing & electrifying..excellent mix & recording production! Very nice percussion track..Passionate expression..captivating effects..sumptuously infectious..perfectly executed..

idematoa 7

Original Music: Neowakan
2020
---
About the track:
The whole concept of this track elaborates the  landing stages of A Human on The PLANET HUMAN (human itself, considered as an unknown planet being discovered). 
The duration of the whole project is 33:33 and is available in 2 separate tracks. (demos available in 4 tracks on soundcloud.com)

Gathering of Silence 04

Pot au noir :zone météorologique instable, où les vents sont changeants et difficiles à prévoir. # Doldrums: unstable meteorological zone where the winds are changeable and difficult to forecast.

The Doldrums
I’m no Vasco de Gama,
I’m nothing like a Genoese sailor.
My horizon Is blocked,
The story hasn’t moved forward
My life looks like,
Believe me, I swear,
My life looks like
The doldrums.
In my shell, it pitches and rolls
Since you left,
And methodically, I sink,
I’m quite borderline.
Always the same horizon,
A line of "I love you"
That forms a whirlpool
And pulls me down.
My life looks like,
Believe me, I swear,
My life looks like
The doldrums.
I’ve wasted my strength and my breath,
The weight of the air suffocates me.
I throw my heart overboard,
And leave it all to fate.
I can escape the traps,
The ocean protects me.
It knows how to dissolve sorrow,
It knows how to console sailors.
My life looks like,
Believe me, I swear,
My life looks like
The doldrums.
I’m no Vasco de Gama,
I’m nothing like a Genoese sailor.
The horizon is starting to move,
The water is starting to stir.
I’m sailing beyond,
Believe me, I swear,
I’m sailing beyond
The doldrums.

Pot au noir

Living in the mountains of Oaxaca, Capulálpam de Méndez, has deeply inspired this piece. The track opens with the sounds of wind and birds, weaving you into the heart of nature's embrace. Intricate guitar melodies then take center stage, exploring themes of balance and fragility within the natural world. The music reflects on the enduring spirit of ancient civilizations, a testament to resilience, but also pays homage to the people of Capulálpam de Méndez who have become my adopted family here in Mexico. Their warmth and kindness are a constant source of inspiration. The piano serves as a roadmap for this musical journey, while the guitar takes the lead on the melody.

°°Español°°
Viviendo en las montañas de Oaxaca, Capulálpam de Méndez, me ha inspirado profundamente esta pieza. La pista se abre con los sonidos del viento y los pájaros, entrelazándote en el corazón del abrazo de la naturaleza. Las intrincadas melodías de guitarra toman entonces el centro del escenario, explorando temas de equilibrio y fragilidad dentro del mundo natural. La música reflexiona sobre el espíritu perdurable de las civilizaciones antiguas, un testimonio de la resistencia, pero también rinde homenaje a la gente de Capulálpam de Méndez que se ha convertido en mi familia adoptiva aquí en México. Su calidez y amabilidad son una fuente constante de inspiración. El piano sirve como hoja de ruta para este viaje musical, mientras que la guitarra toma la delantera en la melodía.

Renacimiento

Blackout

written, performed and produced by Richard Brown.

Lyrics:

I feel it comin I feel it within
My worlds getting darker the lights getting thin
I’m dying of hunger I’m dying to live
The spell that I’m under has left me in sin

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

It won’t be for nothin if I’m not to win
I’ll take what I’m given and drink it like gin
I’ll crawl through the darkness against the cold wind
And claw at your feet til you let me in

Father you tried to break me
Sisters and brothers always leave
Mother why does your heart bleed
Why is a friend the one in need

Blackout

And now... a moo-ment of zen, courtesy of "Big Cow Blues"...

MUSICIANS
Dave Turnbow - vocals, guitar

The Venerable Beads

Pastoral Sorbet

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

Suite For Chamber Ensemble 2024

Idiotic Robin - 13-4-2025

You can use this track for whatever you want or need. I will appreciate your colaboration in my profile!! Enjoy it !! 

BPM : 50 4/4

Ambient track (50 BPM) you can use this track for whatever you need

You saved me from the flood, 
you saved me from the flames
You pulled me from the ash, 
you called me by my name
I was sleeping with the ghosts, 
dancing with guilt
waiting in the rain 
no fire in my veins

here but far away
 a match without a spark
a shadow on the highway, 
broke down in the dark
signs in the sky, 
I hadn’t seen you yet
Living just to die
running on regret

You saved me from the crash, 
from the smoke and twisted steel
When the world turned to ash, 
you taught me how to feel
I was digging through the ruins, 
looking for a trace
a buggy in the dunes
last in the race

lost in the land 
burned out in the sun
An empty bottle in my hand, 
always on the run
Of a reason, of a purpose, 
of a light behind the face
No me or you, but us
I’d finally found my place

You saved me, you saved me
From the fire, from the fall
You saw it all and saved me

I was chasing empty neon 
down old forgotten roads
Trading pieces of my soul 
for the weight of heavy loads
But you stood there like an answer
 I never thought I’d find
A lighthouse in the wreckage,
a pulse against the tide.

A miracle in motion, 
with mercy in your eyes
an elixir or a potion 
that lifted my disguise
a prophet or a saint
an angel by my side
A beacon in the chaos,
a fire I couldn't hide.

You saved me, you saved me
From the fire, from the fall
You saw it all and saved me

You saved me from the flood, 
you saved me from the flames
You pulled me from the ash, 
you called me by my name
I was sleeping with the ghosts, 
dancing with guilt
waiting in the rain 
no fire in my veins

here but far away
 a match without a spark
a shadow on the highway, 
broke down in the dark
Reading signs in the sky, 
I hadn’t seen you yet
Living just to die
running on regret

You saved me, you saved me
From the fire, from the fall
You saw it all and saved me

You Saved Me

noxpox - balla balla

01 - SA - Alev Lenz 3 - Interactive Album - Soul of Runner
02 - OT - TM - Women Choir Sustains Uuh Pitch Slides TM- Harps and Vibes - Pendulum Swells TM
03 - SA - ORBIS - Loops Playable - Balafon ConChaCha - Crunch - Tibetan Bells - Shimmer

Alev Lenz - 3 - Drone

01 - OT - TM - Harps and Vibes Pendulum Swell TM- Low Strings Very Slow Tremolo TM - Low Woodwinds Pendulum Echo Swell TM
02 - OT - TM - Men Choir Sustains Swells Adlit TM - Women Choir Sustains Swells Ad Lib TM
03 - SA - SSE
04 - SA - Albion V - Tundra - Vral Grid
05 - NI - STRAYLIGHT - My Darkness Approaching
06 - SA - Albion One - Epic Sonar Pluck MW - Tuning
07 - Sonuscore - The Orchestra Complete - Strings Basic 8ths 01

To The North

01 - OT - TM - Low Woodwinds Pendulum Echo Swells TM - Low Woodwinds Sustains Staccato Ad Lib TM
02 - OT - TM - Low Woodwinds Sustains Swells Ad Lib TM
03 - SA - OACE - Chamber Grid - BDT - Main
04 - SA - Alev Lenz 3 - Splendind Drones
05 - SA - WE - A Simple Start
06 - NI - STRAYLIGHT - Abandonned Subway
07 - NI - Reaktor 6 - Space Drone - Polar Wind - 012 Tropikal
08 - NI - Noire Pure -  Basic Pure

Around E2

01 - Spitfire Audio - Alev Lenz 3 - I Know You Will
02 - Spitfire Audio - Eric Whitacre Choir - Tutti - All In One - Dynamic Swell OOH
03 - Spitfire Audio - Eric Whitacre Choir - Evo Grid - Bass - Dynamic Movements
04 - Spitfire Audio - Albion - NEO - Brunel Loops - Suspended in Space

Palette Of Voices

Part 3 coming soon ... 😉

01 - Soundiron - Voices Of Rapture - Alto Phrases French
02 - Soundiron - Voices Of Rapture - Tenor Phrases Latin Slow
03 - Soundiron - Voices Of Rapture - Tenor Phrases Humming
04 - Spitfire Audio - Aperture Strings - Reflections - Tremolo
05 - Spitfire Audio - Lea Bertucci - Acoustic Shadows - Trumpet - Decay Swell with Room Sound [Long]
06 - Spitfire Audio - Percussion Swarm - Chimes & Phones - Nuna
07 - Spitfire Audio - BBCSO - Core - Brass - Horn - Legato
08 - Spitfire Audio - Fragile String Evolutions - Pad Waves
09 - Spitfire Audio - Hans Zimmer Strings - 60 Cellos - Col Legno Tratto
10 - Spitfire Audio - Originals Felt Piano - Ribbon Reverb

Palette Of Voices

idematoa

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