Name: Country Girl by Mav Green
Duration: 2 min 54 s
Description: Please see https://youtu.be/0gUTAXqrdVQ for music video

There is a bit of a George Harrison feel to this to my ear. Nicely done!

Great track - good beat - i love the lightness🤗

Great! Get a feeling of the Proclaimers🤓

Like the honky tonk piano feel here.  Nice work Marcus.  Good feel good song.

Quite Possibly

Uprising in Blue

Solitarian

Bandcamp

I keep a box 
and you can bet I keep it locked 
nightmares stuffed inside 
and 
I refuse to pay it any mind 
cause I know it’s all tangled and untame 
       So I refrain 
           yea       I refrain 

Ripples running cross the surface 
being chased
at any moment 
I’m capsized and rolling over 
and you know I want to blame the wave 
       the anger and the flame 
A fire in my belly
Lightening in my veins

Then I feel the shame 
       yea I feel the shame
so I put it all away 

In a box
I keep 
Buried at my feet 
all tangled and untame 

Yea
I feel the anger and the flame 
Fire in my belly 
Lightening in my veins

you know 
gotta put it back again

I Refrain (amped)

'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

Please see https://youtu.be/0gUTAXqrdVQ for music video

Country Girl

Meltdown

PuppetXeno on Unfinished Jam

https://soundcloud.com/puppetxeno

Boom - PuppetXeno Jam

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

eddy gave Josh and me a rocking and  skanking organ/guitar track to get us started - this is what we came up with :)))))
Beats are from Looperman - many thanks to the creators!
WuTang Drums by mk12345 and CalmariaXBoom-Bap Drums by Zeth9

5ynt Dub - with eddyoffline and Entheogenic Psychonaut (Josh Clary)

Girls All Together Outrageous Chaos

Thanks for stopping by,

my name is Mav Green and I love to make music in my spare time.

For many tracks you will find here on my profile, each step from composing and writing the lyrics to producing, mixing and mastering, was done by me or artists collaborating with me. Cover versions are marked as such.

My music is influenced by artists like Kris Kristofferson, Willie Nelson, Johnny Cash, Bob Marley, Gert Steinbäcker, STS and Austria 3.

Feel free to leave comments on my songs. I am glad to receive feedback and love the discussion with other artists. Of course you are welcome to leave a like or to repost a song.

If you have any ideas for a collaboration, please let me know.

If you want some feedback on your songs, send me a link and I will answer.

For my songs in german language please visit my profile "Da Hoizfux".

Country Girl

Mav Green

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