Great EWI Breath Controller Cello Jam by Jörg: https://soundcloud.com/joerxworx

The Next Level (Remix Cello Jam)

Voici une version solo du morceau 'Rosewood'
Aussi disponible sur Bandcamp : https://matzizrecords.bandcamp.com/album/rosewood

Vous trouverez également une version alternative en collaboration avec l'excellent Jörg S ( joerxworx ) au sax que nous sommes très heureux de vous présenter.

Lien vers son profil : https://soundcloud.com/joerxworx
Lien vers la version en collab : https://soundcloud.com/joerxworx/rosewood-2

Impatient d'avoir vos retour ❤

Rosewood - Solo version - (Collaborative alternative version with Jörg S on Sax in description)

Writer : Gerry Goffin \ Composer : Michael Masser \ ISWC : T-802.082.764-0 
Publisher : Prince Street Music - Lauren Wesey Music - Universal Music Publishing
Released : August 13 1985
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While waiting for my next cover... I found this cover from 30 years ago at the bottom of my drawers... I had the voice and the breath!...😊 But that was before! 😄 Now you have to lower it at least a tone or even two.
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I love this song (I'm a Whitney Houston fan); it's thanks to this song that made her famous worldwide. She had a unique tone, a crystal clear voice.
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Arrangement : Phong
Vocal : Anh
Album : 1995
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Saving All My Love For You - Cover (Whitney Houston)

detached

en.wikipedia.org/wiki/Vexations ,

My take on Eric Satie's composition ,which he never played live or published ,

It was written for a very slow tempo so this piece is at 50bpm ,. In the notes above the music sheet it's written to be played in a cycle of 840 times but maybe Satie is having a little joke with us in a Samuel Beckett way .

Its worth reading the Wiki page to read the full story behind the piece .

Eric Satie's music is wonderful ,thank you to his genius .

Crá Croí  (Vexations Interepation at 50 bpm )

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 Woodwinds and Percussion No. 2

This track might test the patience of listeners, as it is yet another iteration of the same idea. However, each version brings a new arrangement and consistently reaches a higher level of quality. The journey of refining this piece has taken me through many phases—some versions were more dynamic and hypnotic, others felt raw and unpolished. Yet, with each iteration, I moved closer to the quality I truly wish to share with you.

It is my deep respect for you, my listeners, that drives me to create a version that feels fresh, distinct, and genuinely good—one that reaches a more professional level. Ultimately, however, the true judgment belongs to the audience.

In an era where music can be generated with a single click, the effort I pour into this uneven battle feels even more valuable. Each step in this process teaches me something new, and my curiosity never fades. With each new recording, I embrace increasingly advanced and demanding sound mixing techniques, allowing me to refine my artistry and push the boundaries of quality. Because of that, I can release new recordings with confidence—whether they are fresh creations or improved versions of earlier ideas.

Best Regards 😘

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Vocal by LOLLIEVOX >  https://soundcloud.com/laurie-webb
Photo by STEVE SOARINGOAK
Music by ɅƉﺍꝚﺍɅNƠ

LOLLIEVOX AND ɅƉﺍꝚﺍɅNƠ - TRANCE HEAVEN | NEXT GEN 2025

drunk octopus wants to fight you

PREMIERE : Vidění - Whispers Beneath The Waves [AM002]

Music by Rosario Piscosquito aka Vidění
Mastering by Brice Deloose at Incidence Studio
https://www.incidence.studio/
Artwork by ambient matter
Distribution by Triple Vision


Vidění
https://soundcloud.com/videni

ambient matter
https://soundcloud.com/ambient-matter
https://substack.com/@ambientmatter
https://ambientmatter.bandcamp.com

PREMIERE : Vidění - Whispers Beneath The Waves [AM002]

Explore the energy of your soul with this track. A gentle and piercing melody that will not leave you indifferent

2 Days Of Rain

daily jam. just getting through it. pic from on top of Cadillac mtn, Maine

detached

Marco Intranuovo