Ha, I actually get the title now (or at least, the Lydian part, haha). :D

Oh wow. I just noticed the huge write-up on this one (I hope I haven't been missing those on your more recent pieces. I need to pay better attention). o.o

I had to give that write-up a second read. Tons of great info in there. It's quite helpful to have the song as reference, while trying to understand the concept. :)

spellbinding scale .... awesome performance!!!

Amazing feel to this...always superb guitars and bass!

I wonder....will it fit my hoof? thought provoking 🎶

Thank you for the information, the composition and superb playing! 💎🎶

Nobody’s Garden

Built around a recording of an alarm forming the audio background to a hospital visit. Musings on dementia.

Turbulent word streams, erratic coherence
Urgent meanings frustratingly mislaid
Inner sense to outer muddle [innocence]
Interface to inner struggle [in your face]
Fragmented paranoia, translucent target, floating beyond the grasp of balanced conscience
Unviolated nuance beyond interpretation
Disjointed intelligence, resentful agitation

Agitation

Listen w Headphones!

Always wanted to rework my old track called Error Code.
Saw Ian's open collab and added the beats!
This time I focused more on the added stuff and beats 
rather than IPG's flows.  

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Samples used

IPG1 - Oh Yeah Lou [ open collab ]
https://soundcloud.com/ipg1/oh-yeah-lou-vocals-134-bpm

Lyrical Smirks - Error Code

Piano bits by Vinheteiro
https://www.youtube.com/@Lord_Vinheteiro

Mario
https://www.youtube.com/watch?v=Ku6MnDx4BI8

Classical piece - Sample marker at 0:14
https://www.youtube.com/watch?v=EyofqsBQS5I

Star Wars - Main Theme
https://www.youtube.com/watch?v=_D0ZQPqeJkk

--------------------------------------------------------------------------------------
Lyrics

Stars aligning I keep grinding
check the styles that I’m combining
try to get to know who I be
if you hear me then you feel me
are you ready—-now rock with me
now rock with me —-now rock with me
when do verses overlap
it’s so cool it’s called snowcapped

Give-and-take that’s tit for tat
the cool comments thanks for that
the contrast the impact
steadfast not typecast
The vibe being kickass
slow your row don’t move too fast
the real power is laid-back
I sure as hell don’t take no crap

When I flex it’s payback
dropping tracks just like that
rock with me it’s jampacked
back-and-forth then switch back
roll on out you scaredy-cat
or hang tight and interact
but I don’t do no contracts

Vocals/Lyrics written and performed by Ian Greaves aka IPG1 (@ipg1)

-------------------------------------------------------------------------------------------------------
*No copyright infringement intended*

I highly suggest to check out all the original sources and get inspired just like me. I'm not here to be " on fire " I'm just here to inspire / share and show some love for this artform and the original creators. You can find all my source material in the descriptions.

I'm not signed, all my creations & remixes are just a Hobby and not connected to any money-based profits. However if you use my music to make money I will not be held accountable. When listening to my music you are agreeing to these terms.

Remixed by LS / 2022.

Are You Ready? Feat IPG1

Meet today
What of many yesterdays
A veil to hide
Stellar truth that lies inside
We return
To the obscure
Cosmic surrender
Cosmic surrender
We start
As flaming hearts
A veil to hide
Stellar truth that lies inside
We return
To the obscure
Cosmic surrender
Cosmic surrender
Meet today
What of many yesterdays
A veil to hide
Stellar truth that lies inside
We return
To the obscure
Cosmic surrender
Cosmic surrender
Cosmic surrender
We start
As flaming hearts
Cosmic surrender
Cosmic surrender
Cosmic surrender

Star Variations

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

Chapter 128 of 266
Chapters released every weekend. All TAFFETA tracks are created within seven days.

I use a complete hybrid of organic & electronic sounds within the scope of the Taffeta project. Nothing is out of the question and no limits are set on how things may evolve one way or another.

If you want to hear everything that has come before:
The TAFFETA Albums are available for free on Bandcamp.
Released in 15 part/chapter increments:

TAFFETA Vol. 8 is now available exclusively on Bandcamp: https://belialpelegrim.bandcamp.com/album/taffeta-vol-8

COVER YOUR TORSO WITH TAFFETA! Check out the official TAFFETA t-shirt!
belialpelegrim.bandcamp.com/merch/belia…feta-design

The TAFFETA Playlist is always kept up to date:
soundcloud.com/belial-pelegrim/sets/taffeta-a-266-part-musical

TAFFETA | 128

An experimental trip hop soundtrack. 
Listed on Scratch Kelly's Grand Plans album, released June 2023.

Grand Plans

Andre The Giant Has A Posse

Mia Muchacha

Mia Muchacha  (Testo di Anam Hermit)

This track was created as a self reminder whatever we feel in any circumstance is okay for us and honoring that intuitiveness is what matters most to each of us. People can see, think, say, portray anything in this 3D "values" world in which we live. We can BEcome caught up in the simulation, the societal entrainment "game rules," or we can go deeply within to reconnect and listen to the light and dark, the united mind, heart, body, and soul... Oneness of the Self when it comes to the who, what, when, and where we feel safe enough to BE or continue to BE ourselves. Anyone can outwardly say "you are safe." But, it's how we feel that matters. It's whether we are given sacred safe space; but perhaps more so, whether someone is able to equitably BE as vulnerable with us as we are with them that creates the feeling of safety. Some will say that fear is a human mindset construct that should be eliminated. Okay, if that is true, then the supposition of fear being the opposite of love and everything we think, say, and do comes from a place of either love or fear. Therefore, if one is a man made construct, that would mean the other is... as well. This would make fear, love, and hate... and the man made concepts of "to have" "to want" and "to need" simply other "four-letter-words," as cursory as others, considering how the words are all so maligned by society and "limited release-of-information" religions (especially Christianity which "conveniently" let out over 100 tablets/books from the BELoved Bibles because they "didn't suit" man's wish or agenda to control and "have dominion over all 'less than' peoples.") Subsequently, all other "feelings" would be man made constructs from made up letters, randomly arranged in man made words that we could also eliminate and consequently move into a more scientific based claim "We are all energy, everything we see is simply energy. Energy never dies, it simply changes form." Okay, so why then has NO ONE proposed that ALL feelings are man made, fear mongering constructs... used as divisive tactics? PLEASE, think about it before you simply run your entrainment tapes... IF we ELIMINATED the words in our vocabulary so as to have never named "emotions" which have been used to divide us into judging EVERYTHING about ourselves AND one another which creates more fear, and this perceived sense of lack in our daily lives... what would exist? Not fear, not love, not hate, not lack, not hope, not despair, not loneliness, not any one of the emotions, man made judgmental and divisive constructs... all THE THINGS that create the discord we are SEEING, witnessing in the world today. I know, it's a mind blowing, mind freeing concept that we've never heard proposed by anyone, except perhaps those leading a more meditative, monk, shamanism kind of lifestyle. Since we'd been drawn to those lifestyles since our earliest, formative years... long before we should have even known what they were... perhaps simply another reason we've always felt like we didn't belong in this 3D construct. Simply another way to see things from a higher perspective... or judge me to BE insane, right? BElieve whatever you want, and we'll BElieve as we are shown and led to, as well. We'll BE spending more time with those we FEEL safe and comfortable energetically... those with whom we've felt a more equitably shared reciprocity of vulnerability. We invite you to begin a similar practice for yourselves and your own/shared highest vibrational energy and living. BE well.

BElieve

unwanted memory

Psychic Resonance

Born in México City in 1955, started playing at an early age. In Mexico, I played with bands like "Batallón de San Patricio", "Atrás del Cosmos", "Queso Sagrado", "Syntoma", " Broken Heart", "Decibel", "Bardo Thodol", "Kathmandu Ensemble". 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, 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.

Lydian Dominant

Carlos Vivanco

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cam-o the chameleon

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