Name: Lost Without A Trace by Rick Jangle
Duration: 3 min 57 s
Description: Title says it all. Based on feelings I had when experiencing some difficult challengers in life.

Great songs take you away for a few minutes.  This is what you've achieved here! Well done!

Fantastic song, great arrangement, love the vocals.

Great song. Love the spacious drums sounds, especially.

great one, sorry realized it at 2nd listen

This tune terribly stays in mind! It’s just excellent ❣️

Cool track !!! Fantastic composition and great guitar sound 😎

Such a great sound and feel to this Rick. Guitar work is really good.

Title says it all. Based on feelings I had when experiencing some difficult challengers in life.

Lost Without a Trace

Lost Without A Trace

Do not drive or operate heavy machinery until you know how your body responds to this piece in a lower frequency than typical radio music recorded 440Hz.

Logic Pro X
2022 Copyright/Sound Recording/All Rights: One Stop. 
For Licensing Contact:
Rainier Daze
Rainierdaze@gmail.com

Thieves

This is an afrobeat song that I came up with based on a beat I boosted from BandLab. They have all kinds of great beasts on there, btw. Anyway, I sent it halfway around the world to my friend Mikey McFaffington in Australia. he proceeded to summon his magical saxophone throughout the song, bringing it to life. We both had a lot of fun making this one, and appreciate you taking the time to read this. I'm playing bass, guitar, electric piano, and synth horns on this one. 

No Such Thing as an Enemy (with Mikey McFaffington)

Kit: Hammerhead, volca fm, uKORG, Jamstik, Air (eno), Teraverse, SynthMaster One, Logic Pro X.

Acknowledgements:
Vocals - 
(1) Modified excerpts from “I Am Stretched On Your Grave” traditional 17th century Irish folk song (unknown) sung by queeniemusic (Kimberly Steele) (2009). Licensed under a Creative Commons Attribution (4.0) license (CC-BY).
(2) Field recordings from Valencia. Hotel rooftop bar guitar duo, church choir, accordion busker, people.

Cover Art - Detail from “Far from here” by Klara Kristalova, which features “Beast” (2019) and “Watching the sleeping woman [after Rousseau]” (2017).

Stretched On Your Grave (ft. queeniemusic)

Pacific - Rhythm of the Ocean

Loop Out Of Blue

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

Summer Day of Bliss

Lyrics (Original Song)
Ever since you first found out that I love you
You been adding to the list of things that I must do
And even though I do the best that I am able 
you got me begging for the scraps from your table

I’d rather be a good woman’s dog than to be your man
But I can’t help but jump whenever you command
A good woman’s heart is worth any sacrifice 
But when it comes to you I am a fool to bear this price
But I love you anyways, Lord help me I love you anyways

I don’t know why my tail wags so hard when you get home
I am just an accessory in your purse you post on your phone
Why I don’t I take the first chance to bolt out that front door
And run down the street like you don’t own me any more

I’d rather be a good woman’s dog than to be your man
But I can’t help but jump whenever you command
A good woman’s heart is worth any sacrifice 
But when it comes to you I am a fool to bear this price
But I love you anyways, God help me I love you anyways

Good Woman's Dog

A rock song about a man searching for his true direction in life. 
Songwriting, 6 and 12 string guitars, and vocal - Rich O'Brien
Bass - David Hynes
Drum Track and Mastering - Roy Blake
AI Imagery - Rich O'Brien

If you would like to see something of the development of this song, please check out this solo acoustic version on Youtube www.youtube.com/watch?v=0rFXkvtoJqg.

For You And You Alone

Skottevången

Amateur recording artist. Gear, Vox AC30, Vox AD60VT Valvetronix, Vox mini superbeetle. Rickenbacker 360/12, 325, 330 and 660. Gibson Les Paul Traditional, Fender Stratocaster American series. Maton EM325C acoustic. Viola bass.Yamaha keyboard. Boss DD2 delay, Boss Heavy Metal, Boss RC 1 looper, JangleBox JB2 compressor, Mr Black Eterna Gold modified shimmer reverb, Vox Valvetronix Tonelab EX. iMac with Pro tools 12.

Lost Without A Trace

Rick Jangle

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