Very nice! There's a mix of David Bowie and Lloyd Cole in your voice but a little deeper. ✨🔥👌

🎵 What a beautiful tribute to this majestic tree! Your voice carries such reverence and connection to nature ✨ Love how you capture the tree's ancient wisdom and sheltering presence 🎤 The collaboration with DWA's bass and drums creates the perfect organic foundation 💫 Your melody flows as naturally as branches reaching for light 🌟 Such a thoughtful reflection on finding peace and inspiration in nature's embrace ❤️ Pure musical poetry rooted in deep appreciation! 🌳​​​​​​​​​​​​​​​​

Cool song! Great atmosphere. Nice soundscape!

I like this song for the tree(s). The Lorax smiles.

This recording is an overdubbing of my guitar playing on the work "Lover's Prayer" by Lisha Nandi.
https://soundcloud.com/lisha-nandi-124733328/lovers-prayer
--------------------------------------------------------
When I first listened to Lisha's this work, I was completely fascinated by it. I think the vocals, lyrics, composition, and performance are all excellent, and the balance between them is wonderful.When I suddenly returned to myself, I was holding my Les Paul, and have started recording with it.

The original work released by Lisha can be thought of as a completed "acoustic version".If I think the purpose of adding and releasing my guitar playing to it is to promote and disseminate the existence of that wonderful "acoustic version".

＊If you are practicing playing the guitar, please use it to master the performance of "C # m Pentatonic Scale".I think there are several ways to practice playing the guitar with this song, this time I mainly played and recorded it using the "C # m pentatonic scale".

If the foundation is neglected, there will be no future development. Those who neglect their proficiency in the pentatonic scale and act as if they have mastered not only the pentatonic scale but also the blues scale will most hope that listeners will misunderstand that their guitar playing is good. .. It's a very dangerous adventure.

I eagerly want anyone to get out of that dangerous situation as soon as possible.Any guitar player who hasn't mastered it can't get out of the "beginner". I think.

If you know that it is used in the following representative songs, everyone who has not used it before will surely say "Oh, is that a pentatonic scale?"

The Beatles --Let It Be
This song has different solo performances on the single version and the album version, but it is a guitar solo called "A minor(C major) pentatonic scale textbook" from the time it was released.

Led Zeppelin --Stairway to Heaven
Even in this song, a guitar solo will appear at the end of the song. This is a solo performance using the "A minor Pentatonic Scale", which is a little more difficult than the above.

Eagles --Hotel California
A very famous guitar solo will be developed at the end of this song as well. Since it is a twin lead, it is a more difficult solo performance. The "B minor pentatonic scale" is used.


**[Materials for those who want to know about Pentatonic Scale]
junzo.seesaa.net/article/484819091.html?1639535452


The guitar playing that I layered on the original sound source is very simple. Some may say it's too simple.However, it doesn't make any sense to crush the sound of vocals and other instruments to make only the sound of the guitar.

There is no guitar solo in this attempt, and I didn't play the chords and tried to accompaniment phrases. This is because it is meaningless unless the listener can easily listen to vocals and other performances. Therefore, I think it is easier to practice the scale using the guitar.

PS
There are quite a few artists I would like to collaborate with someday. Lisha has long been one of the representatives, and I have long waited for the opportunity to come. Recently, I have actually had the opportunity to dramatically improve the collaborative environment. Even with an already completed sound source, it is impossible to completely separate it for each instrument, but now it is possible to separate files into several major parts. 

In this work, even if the volume is set a little louder to maintain the sound quality of the guitar, the vocals are cut out from other parts, so the volume and sound quality of the vocals could be sufficiently maintained. That is one of the major backgrounds that made it possible to release this recording
(I've uploaded a version here that matches the genuine Apple earphones for the iPhone, so  it's a good idea to set up an equalizer for your listening environment).

Lisha approved my this attempt to be published here. I thank her sincerely for her generosity.

JUNZO KOWASHI

Lover's Prayer

Lisha Nandi - Lover's Prayer ft.JUNZO on electric guitar

So this poor Rhodes has been having a hard life with me... not very compatible with tramway and train, standing in a room where normally nobody is, having been used as a stand for all sort of things... and the cat has been doing crazy stuff with it, too.

Digged it out, cleaned it, fidgeted with this grrr sustain pedal for some hours, welcome back my friend!

The Liberation Of Rhodes Island

A Big Thank You to https://soundcloud.com/dreamingwhileawakemusic for providing this wonderful bass and drum section. Please take a listen to his version of the song:
https://soundcloud.com/dreamingwhileawakemusic/the-tree-rough-take-1-collab-w-xian3?si=bd834c45b7a44b9aa467fadb0dc32338&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

It’s been a great honor and pleasure to collab…
The picture shows my favorite tree in my favorite park

________________________________

The Tree

You are probably
An old tree
Standing exactly 
Where you should be
Your condition…
It is ideal

You’re obviously 
An old tree
Standing exactly
Where you should be
Rooted deeply 
Down in history,

Scratching solid rock,
That’s where you stuck
Your bark 
Is notched
Tells the whole story
From the bottom to the glory

Roots and crown they radiate
Where a far too early 
Meets a far too late
And your branches spread out with might
Spreading to the light
Expand into the light…
Expanding to the light

In the threatening heat 
You provide me a retreat
Just letting me breathe
Just for a little while
In an escalating delta 
You offer me a shelter
Oh, just letting me breathe
Just for a little while

Letting me breathe

Lean on you 
For a couple of ys
And get through…
And be inspired by you
And sing my way through 	    			

Lean on you 
For a couple of ys
And get through…

The Tree (wt DWA)

Pure Fear(dont you want this mix)

A ragtime piece in A minor and in the form of ABCBDEA

Sheet Music: musescore.com/user/75150/scores/7152582

© Anes Sadiković 2021

Firefox Rag

sonntag

Demo written, performed, and produced in Logic by Kate E. Stanton 2/15/25
No scientific method for the soul. 
Song Number 8 #FAWM

Nothing to Prove

She’s got nothing to prove, 
she’s got nothing left to lose.
Burned every bridge that wasn't halfway
she’s learned this.

Why should she listen to you?
Why would she listen to me?

She has danced in the dark, now she finally breathes.
Every step she takes sets her soul free.
Every breath she inhaled makes her believe.

There’s only One she’ll kneel to.
She’s got wounds that They can heal, too.
Every shadow she’s faced helped her ghosts erase
And she’s owned this.

Why should she listen to you?
Why should she listen to me?

All opinions drown authenticity.
Now the echoes of war cry out for the way
she beats them into a pulp by telling the truth

She’s got nothing to prove, she’s got nothing left to lose.
No more battles to fight no more sides to choose
and she’s earned this.

Nothing to Prove

Peace &  Love to 🇺🇦 & 🇷🇺

I used the vocal take from this video version for IG this evening:
https://www.instagram.com/reel/DIpO-8utJTM/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

The Ukrainian flag features two colors: blue and yellow. The blue represents the sky, while the yellow represents the wheat fields, symbolizing the nation's natural landscape and agricultural heritage. 


Lyrics
I still hear you
You may hear me
In heart it's the yellow
Your wheatiest fields
The blue the sky that filters their clean
It's filled with red
We're sorry and we hope
The madman moves on and it's life gets revoked
Till then please stay strong
You face final power struggle for Earth and for all 
Your pain is new balance
Not in vain
Our kids are the chalice
In heart it's the yellow
Your wheatiest fields
The blue the sky that filters all of our dreams
Let that yellow mean food
Let that blue not mean blue
Let peace reign with borders by you 🇺🇦

For the yellow
For the blue

Let's send new blue
Skies that knew old red
Old red put to bed

Our Blue and Yellow

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

Born from the silent pulse of the cosmos, light filters through the veils of shadow and unfolds into invisible forms. Horizons dissolve into constellations, and breath becomes the force that bends the firmament. Radiance flows like tides through the silence, cradling the last embers of distant suns. In the radiance of a dawn without beginning, time forgets its path and infinity opens its eyes.

The Silence Carved in Light

307 Alright.mp3

musical sketchbook
DIY, low skill, low fidelity

The Tree (wt DWA)

xian3

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Close to Robert

Pierre Bordetti

🎸 𝗝 𝗜 𝗠 🎙

Lammbone

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