Words, Lyrics, Vocal and Instruments by 'Vintage Mutation' (aka Evandro B. Lira)

REFLECT YOURSELF        
(Evandro B. Lira, AKA ‘Vintage Mutation’)

Go out from the darkness and see who are you
Brighten the light of  your mind and see around you
   
The world is not so normal
As like you think
The world is not so real
As like you see 
Look to believe, think to live
Look to believe, think to live
                                                                    
Go out from the darkness, and see who are you
Reflect for a moment the meaning of the things 
And feel the waves of the sea teaching you to hear 
Feel little by little, little by little, little by little 
Till you can sleep

-------------------------------------------------------------------------------------------------

REFLITA (portuguese translation)

Saia da escuridão e veja quem é você
Ilumine a luz da sua mente e olhe ao seu redor

O mundo não é tão normal
Como você pensa
O mundo não é tão real
Como você vê
Olhe para acreditar, pense para viver
Olhe para acreditar, pense para viver

Saia da escuridão e veja quem é você
Reflita por um momento o significado das coisas
E sinta as ondas do mar ensinando você a ouvir
Sinta pouco a pouco, pouco a pouco, pouco a pouco
Até que você possa dormir

Reflect Yourself

Quite Possibly

Here's a new track about a terrible man called Mr S and how accepted he is during the day and by night and on vacation he is the biggest pig there is!

I got the inspiration from an article in the paper about 6 month ago and the arrogance that was displayed regarding his crimes to young children!

 so this a #rocktune with a few things baked into the melody and the harmonies and sincerely hope you like it enough to repost and share it!

Mr S(The Shadowman)

Mr S (The Shadowman)

Out of the Box September 2022
Wit and wisdom from Liz Truss, the ex- prime minister of the UK and ex-leader of the Conservative Party (she lasted only 44 days!)

Trussed Up

Traveling Through Landscapes

Dive Into

'Massaging The Ego' is a fusion track inspired by the thought of self conceit, which of course is the "ego". So when most of us do or achieve something that pleases us, this is us 'Massaging The Ego'. I'm not sure if I am totally blown away by this present work, but my ego seems to be happy enough. So massaging accomplished, here is the track.

Massaging The Ego

Smart Phones Stupid People

December 14th 2022 - New track.
Guitar - Fender Koa Telecaster
Played with an E Bow
Effect pedal - Digitech Whammy DT
Bass is the Telecaster tuned down by the Whammy pedal.

The Moon and a River

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.

Smart Phones Stupid People

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