Copy of Swan Lake - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

A recording of J.S. Bach's 'Preludie in C' played by Neil Balfour.

When J.S. Bach began working on his epic Well-Tempered Clavier in 1722, chances are he wasn't thinking that it would become one of the defining musical texts in keyboard history. But, somehow, it has - and the Prelude No. 1 in C Major is where it all starts.

The Well-Tempered Clavier (there are two volumes of it, each containing a prelude and a fugue in each musical key) kicks off in C Major, the most 'natural' musical key, so he obviously made sure that the first entry is a good one. Few pieces of keyboard music sound so delicate and fragile, but there's a very Bach-ian stability to it as well. 

It's a strikingly simple piece to begin with, gently phasing through different chords and registers, but it's one of those pieces that demands to be tinkered with. Consequently, you'll hear plenty of different interpretations of this much-loved work.

Prelude No. 1 In C Major | Bach

Swan Lake - Pyotr Ilyich Tchaikovsky

Swan Lake Act One. No. 3. Scene (Allegro moderato) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

Swan Lake Act One. Introduction (Moderato assai) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

Swan Lake Act One. No. 2. Waltz (Tempo di valse) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

Swan Lake Act One. No. 1. Scene (Allegro giusto) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

Swan Lake Act One. No. 4. Pas de trois I. Intrada (Allegro) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

The second movement of Bach's Orchestral Suite No. 3 in D Major — better known as "Air on the G String" — performed on virtual strings, harpsichord, and The Trumpet from Samplemodeling.

J.S. Bach: Orchestral Suite No. 3 in D Major, BWV 1068, 2. Air - trumpet(2013.11.17)

Swan Lake - Tchaikovsky

Dmitri Shostakovich - Waltz No.2

Diana Damrau - Queen Of The Night (Mozart: The Magic Flute).

🌑 The 15th Seal: Revelation in Fractured Frequencies is an invocation, a sonic apocalypse channeled through Ethereal Labyrinth’s labyrinthine machinery. It opens the gate, where silence and sound trade identities, and the world ends not with a bang, but with an infinite, trembling resonance. This is Revelation rendered in reverb a hymn for those who dare to hear what should have remained sealed.

🎧 Musical Interpretation of the Eschatonic Pulse

Opening – The Whisper Before the Rupture
The track begins like a forgotten transmission—a low, sacred hum submerged beneath static, as if decoding a signal from beyond mortality. Sub-bass murmurs crawl beneath crystalline chimes, building unease. You don’t enter the song; the song opens you.

The Unsealing – Resonant Cataclysm
The rhythm doesn’t drop; it erupts. Percussive pulses crack open the sonic crust, each hit tearing through layers of ether. Metallic textures grind like collapsing heavens. The kick feels less like a heartbeat and more like a divine hammer striking the veil between worlds.

Revelation in Decay – The Choir of Fractures
Ghost-voices shimmer behind the main rhythm—fragmented, reversed, half-human. They chant in impossible harmonies, weaving both prayer and curse. Every frequency sounds like a confession bleeding into distortion. The melody ascends, but never resolves. There is no redemption here—only unveiling.

Ritual of the Ninth Frequency – Ascension Through Dissonance
Midway, the track spirals into chaos. Beats fracture; the synths twist around themselves like serpents devouring time. You are pulled into an electronic ascension—an ecstatic disintegration. The floor beneath the sound collapses, and gravity gives up its claim.

The Eye Opens – Harmonic Collapse
The density implodes. Sound stretches thin, frequencies wail and dissolve into drone. This is the eye of the storm, a sacred stasis where you hear nothing and everything. The listener becomes witness to the unmaking—an observer at the center of revelation.

Final Seal – The Thirteenth Frequency Beyond Silence
When the rhythm returns, it’s distorted, divine, and irreversible. The percussion no longer serves tempo—it enacts judgment. Arpeggios slice through the air like scripture in code. The track ends in a burst of unresolved resonance—a door opened, never closed.

Aftermath – Echoes of the Unheard
The fadeout is not an ending but an erasure. Faint tones linger like the memory of prophecy, or the static left when gods stop speaking. The silence afterward feels heavier than sound itself.

🧠 Eschatonic Symbolism & Sonic Character

🔮 The Sound of Revelation:
Ethereal Labyrinth doesn’t compose; they prophesy. The 15th Seal breaks musical form as an act of spiritual entropy—melody used as scripture, distortion as revelation.

🕯️ Ritual Through Frequency:
Every layer feels intentional, like an initiation rite rendered in modulation. This is trance not for the club but for the catacomb—where basslines become commandments.

💀 The Collapse of Dualities:
Noise and harmony coexist until they’re indistinguishable. The 15th Seal teaches that creation and destruction are the same frequency, heard from opposite ends of eternity.

⚡ Judgment as Artform:
The production feels divine and brutal, immaculate in its ruin. This is not rebellion—it’s revelation through annihilation.

🩶 Best Used For:

Ritual scenes of divine confrontation or awakening

Cinematic sequences of apocalypse, transformation, or revelation

Story moments where knowledge is both power and punishment

Dark-ambient raves in sacred ruins or digital cathedrals

🎭 Symbolism & Final Reflection
“The 15th Seal” is Revelation rendered as rhythm. It’s the sound of the universe realizing it has a body—and choosing to tear it open. Ethereal Labyrinth doesn’t ask you to dance; they demand you bear witness.

The seal breaks, and through the crack, the infinite sings.

The 15th Seal

The Symphony No. 2 by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work lasts around eighty to ninety minutes and is conventionally labelled as being in the key of C minor; the New Grove Dictionary of Music and Musicians labels the work's tonality as C minor–E-flat major.

Gustav Mahler - Symphony No. 2 (Resurrection)

This is my take of covering a famous orchestral piece by Camille Saint - Saëns. Its entirely done with the help of Addictive Keys, and EastWestQuantumLeap Symphonic Orchestra and Choirs.

Enjoy

Camille Saint - Saëns - Aquarium

A very popular dance from the ballet “Swan Lake” by Pyotr Ilyich Tchaikovsky.
If you want to use this music for your project, do not forget to buy a license! Just click on Buy-link, choose the right license and enjoy good music and creativity!
If You have any questions, write us, we'll try to answer everyone.

Swan Lake Act One. Introduction (Moderato assai) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

Pyotr Ilyich Tchaikovsky

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