Composed, arranged, performed, and produced by
Carlos Vivanco

Morir Soñando

Moon Lovers

Nautilus

Petrichor

Sangre Gitana

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

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

Desert Shadows

Deep Sea Mermaids

Murmullo Del Viento

Amor Y Pasión

Magic Dreams

Al Sereno

Autumn Tears

Wake Up Under Water

Are We There Yet

Cosmic Rain

Surfing Clouds

Love Storm

Funk Attack

Èr, Wǔ, Yī

Year Of The Snake

Temperance Fountain

Composed, arranged, performed, and produced by:
Carlos Vivanco
https://youtu.be/5C7fqVJRxxI

Composed, arranged, performed and produced by :
Carlos Vivanco

Just Swing

Devil's Grip

Sombras Tardias

Sombras Tardías

Redlight District

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

Magic particles refer to a concept in quantum physics, particularly related to the behavior of particles like top quarks.
Researchers at the Large Hadron Collider have found that top quarks exhibit a property known as magic, which could advance quantum computing. 
This "magic" measures how well-suited particles are for building powerful quantum computers, indicating the complexity of calculations that can be performed on non-quantum computers. 
Additionally, there is a software tool called Magic Particles, which is used for creating 2D and 3D special effects in various applications.

Magic Particles

Composed, arranged, performed, and produced by
Carlos Vivanco & Jason Mowry
Final mix by Jason Mowry
@asleepwithheadphones
@lazydadamusic & Jason Mowry

At The End Of The day

At the End of the Day

Suspiros Del Alma

Steel Tears

Ma Elena Leal Beltran : voice
Carlos Vivanco : composition & production.

Frida

Con El Viento

Composed, arranged, performed, and produced by:
Carlos Vivanco
https://youtu.be/2QnczhGqEzY

Danza De Cuerdas

Born in México City in 1955, started playing at an early age. In Mexico, I played with bands like  "Atrás del Cosmos", "Queso Sagrado", " Broken Heart", "Decibel", "Bardo Thodol", "Kathmandu Ensemble", Silent Light. In New York City I played with Bands like, "King"s East", "In The Service Of", "Fist of Facts", "Desire", "Dense Undergrowth"," "Matahari", "Like Wow", "Devil's Breakfast", "Muse Mob", "Atlantis 3000", "Monster", "Zenith", "Andromeda Crash" "Night Shade", I also collaborated with Hector Zazou, Harold Budd, Elliott Levin, Dennis Charles, Tetsu Inoue, Bettina Koster. Barbara Gogan, Salvatore Principato, Ken Man, Scott Hartley, Thomas Truax and many others. For many years I also wrote Jingles for a lot of products like Coca-Cola, Pepsi, Mc Donalds, Toyota, Kodak, Payless Shoes, Rothman's, Salsa Tabasco, JC Penny, Liberty Science Center, American Heart Association, MCI, Reebok, AT&T, Fanta, Play Movil, etc, I also made music for Viacom writing music for cartoon networks, Bravo TV, Chanel 1, and MTV. Also wrote music for Bill Moyers (PBS)and also for Fax TV in Germany.

Carlos Vivanco

Pinned to spotlight

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