Name: Flowers Need Water by Screach
Duration: 4 min 37 s
Description: Seth and Mike improvising under the Big Sky -

You two really go to some places together. I can tell you, you are a very fortunate man.

oh yeah Miguel, very much flippin' my switch

real cool trippy improvisation, love those droning synths taking the vibe to the stars while your vocals keep us on earth, real cool!!!

Must have been a great time under the big sky, cool!

Oh these sounds we‘ll reproduce here soon, we are as well facing a drought … nice music!

NADA TAN SENCILLO

Nada Tan Sencillo

Living High

Having washed his soul in the River, the main character from my last song has now become a better Man, well nearly a better man. When you listen to the lyrics i think we may all agree that he might have to make a visit back to the River ..pretty soon.

Used the same guitar as the last time, added some distortion to the lead guitar to add dynamics at the chorus and introduced an acoustic guitar in the Right speaker with the bridge pick up guitar in the left speaker, sort of spreads the sound, I loosened the snare on the  snare drum to get more of a rattle and pumped up the kick a bit. Hope you like it ..All you sinners .

Written, played and produced by: The sinner Johnny Mc Farlane.

A Better Man

My submission for the December 2022 Sim Selection monthly challenge of Benn Jordan's discord community.

Theme: A Crack In Time
Keywords: guarded, helpless
Optional Challenge: Time is of the essence. Time is an illusion. Time is money. Time flies.

My compositional idea was to represent multiple time references, all moving forward at their own rate. Inspiration from a Stravinsky score, as well as other modern composers.

Perceptual Gate

Eclectic electronic uptempo beeps and squeaks. (Short version)
Recorded live using a Roland JD-Xi.

Digital Fun

Pacific - Rhythm of the Ocean

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

Seth and Mike improvising under the Big Sky -

Flowers Need Water

D-221B Baker Street

5/5 2023 Friday evening

Picture
Wolf - Rayet star

Mirage

In The Air Tonight(rough)

All tracks  are recorded in a spontaneous manner typically in a single take. Most lyrics are also spontaneous improvisations derived from the feelings of the moment. We let the guitar and drums interact and the music just happens. Most if not all of the music is inspired from this interaction.

The recording equipment up until January 2019 consisted of a dated Fostex 8 track and a few microphones...We simply lay down a guitar and drum track and let it unfold the way you are hearing it by bouncing tracks. We just have to make music to live. Music of any kind, music that speaks for itself... 

In January 2019 recording equipment was upgraded to Logic X and a UA Apollo MKll Quad Core Recording interface...We entered a new building and still trying to find the light switch so bare with us as we keep lighting matches...  

MW

Flowers Need Water

Screach

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