My Marie

TimeLines (TrueString)

Composed, arranged, performed, and produced by:
Carlos Vivanco

In music, the acoustic scale, overtone scale, Lydian dominant scale, Lydian ♭7 scale, or the Pontikonisian Scale is a seven-note synthetic scale.
This differs from the major scale in having an augmented fourth and a minor seventh scale degree. It is the fourth mode of the melodic minor ascending scale. The term "acoustic scale" is sometimes used to describe a particular mode of this seven-note collection (e.g. the specific ordering C–D–E–F♯–G–A–B♭) and is sometimes used to describe the collection as a whole (e.g. including orderings such as E–F♯–G–A–B♭–C–D).
The acoustic scale appears sporadically in nineteenth-century music, notably in the works of Franz Liszt and Claude Debussy. It also plays a role in the music of twentieth-century composers, including Igor Stravinsky, Béla Bartók, and Karol Szymanowski, who was influenced by folk music from the Polish Highlands.[8] The acoustic scale is also remarkably common in the music of Nordeste, the northeastern region of Brazil[9] (see Escala nordestina). It plays a major role in jazz harmony, where it is used to accompany dominant seventh chords starting on the first scale degree. The term "acoustic scale" was coined by Ernő Lendvai in his analysis of the music of Béla Bartók.
The name "acoustic scale" refers to the resemblance to the eighth through 14th partials in the harmonic series (Play (help·info)). Starting on C1, the harmonic series is C1, C2, G2, C3, E3, G3, B7♭3*, C4, D4, E4, F↑4*, G4, A13♭4*, B7♭4*, B4, C5 ... The bold notes spell out an acoustic scale on C4. However, in the harmonic series, the notes marked with asterisks are out of tune: F↑4*  is almost exactly halfway between F♮4 and F♯4, A13♭4* (Play is closer to A♭4 than A♮4, and B7♭4* is too flat to be generally accepted as part of an equal tempered scale.

The acoustic scale may be formed from a major triad (C E G) with an added minor seventh and raised fourth (B♭ and F♯, drawn from the overtone series) and major second and major sixth (D and A). Lendvai described the use of the "acoustic system" accompanying the acoustic scale in Bartók's music, since it entails structural characteristics such as symmetrically balanced sections, especially periods, in contrast with his use of the golden ratio. In Bartók's music, the acoustic scale is characterized in various ways including diatonic, dynamic, tense, and triple- or other odd-metered, as opposed to the music structured by the Fibonacci sequence which is chromatic, static, relaxed, and duple-metered.

Another way to regard the acoustic scale is that it occurs as a mode of the melodic minor scale starting on the fourth degree. Hence, the acoustic scale starting on D is D, E, F♯, G♯, A, B, C, D, containing the familiar sharpened F and G of A melodic minor. The F♯ turns the D minor tetrachord into a major tetrachord, and the G♯ turns it into Lydian. Therefore, many occurrences of this scale in jazz may be regarded as unsurprising; it shows up in modal improvisation and composition over harmonic progressions which invite the use of the melodic minor.

Heptagram

Lydian Dominant

Blastoid (Loop) 140

Easy Bike Rider

Regresso

Vox & Lyrics - https://soundcloud.com/ipg1/snippets-140-bpm-copy
Artist - https://soundcloud.com/ipg1
Music - https://soundcloud.com/paploviante-and-friends/let-me-know-offer-open-collaboration-80-bpm
Artist - https://soundcloud.com/paploviante-and-friends
MOSNAR DET - Remixing, Drum Programming
Special thanks to my collaborators on this one! check out their profiles!

Paploviante - Let Me Know /IPG1 - Snippets (open Collabs) Mashup

N-L'Arbresle

Painting : Auguste Renoir(1841-1919) Bal du Moulin de la Galette, Montmartre

No Matter What

Ewald Woestefeld : electronics

reworking 'November Song' by Marco Lucchi
https://marcolucchi.bandcamp.com/track/november-song

2018

Marco Lucchi - November Song (Vaders Orchestra extended mix)

01 - Audio Imperia - Nucleus - Solo Cello - Legato Advanced
02 - Heavyocity - Intimate textures - Violas - Texture 2  - Long Release
03 - SA - Aperture Strings - Ensemble Tremolo
04 - Sonuscore - The Orchestra Complete - Choir Male Staccato - Choir Female Staccato - Viola Staccato Double Bass Staccato - Cello Staccato
05 - Sonuscore - The Orchestra Complete - Grand Piano Lib Open - Flute Staccato - Harp Plucked

On The Trail Of The Fairies

All performed and composed by me.
see also: vasco ribeiro morais pag 1,2,4,5,6,7,8
https://vascoribeiromorais.bandcamp.com/?from=viewsite_dashboard

Regresso

Vasco ribeiro Morais - pag. 3

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