@user-755098038 that's right son of eric😂

killawatt Collabs

Back in the day with Nicholas Cavanagh and James Watson

another realm

collab from way back produced by Nicholas feat jules and jim

GET ON IT

collaboration with jules and jim beat by Nicholas Cavanagh recorded 2017

bop ya heads 2

Killawatt on a Nick Cavanagh Beat. mixed by me

something to give/ Killawatt (nickav beat)

The local (2015) ft killawatt/ big phil(explicit)

noxpox - let go (adieu, good bye, auf wiedersehen)

... just a humble improv on keyboard, with a very cool Delay :-) .... photo by Szabo Viktor, unsplash

Clouds

Crazy💋Stefy M.🔥Produced by Nero Fuentes🔥

‘Late night disembodied screams in fields with rabbits dying and foxes boasting…’

There’s a rapping at my window pane
drives me crazy 

Shadows in the dark 
gossip foxes rumbling in the park 

Such a sound 
makes my blood curl
makes the clock strike 
woke me up in a fever sweat

Grievous cries from beneath my bed
Yea 
      Something’s going on here 
       Something wicked 
        Something wild
Rapping at my window pane
and scratching at my tile

Yea 
      Something’s going on here 
       Something wicked 
        Something wild 

Feral growl
Evil rumble 
spit and scratch 
bloody knuckles 

Curled up on this mortal coil 
so much trouble 
so much toil

Rapping at my window pane 
a flame 
burning the midnight oil

Midnight Oil (amped)

Fin De Partie

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

https://soundcloud.com/chuckbucklez
  @bawa-sushil

Dark Side OF The Junez Ft. eddyoffline & Bawa Sushil (Don't Leave Me Now)

W-Three Wise Man of Gotham

Your mind

collaboration from way back produced by big nick

The World We Live In

Blue mountains rapper/songwriter. love music and collaborations. I enjoy all genres of music and I am expanding as a musician. I currently specialize in rap lyrics and vocals as well as beat making. Still working on my mixing and mastering abilities.

ig: degejulian

The local (2015) ft killawatt/ big phil(explicit)

JFD

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