En esta versión  una nueva biblioteca MIDI fue usada 

Sine Of A Tripple Fibonacci Seed Con Violin

( - 2(1 (1+exp(x Ala 3)) - (1 2))) - 0

Just an experiment of the sound of the pi sequence

Twenty years ago, when I was fourteen, I was booed down from a hip-hop stage in Mexico City... and, for the next twenty years, I decided to stop writing hip-hop lyrics. Well, I've come to terms with my fourteen-year-old self, and back to a form of art I really love. I hope you enjoy it.

The bomb
It always seemed to work a bit erratically mistaken
Like When it’s itching but not aching , 
Like switching on a bomb without an off button 
and carry on and on
Until you’ve dug enough holes to live under the ground 
while asking everyone around to live without making a sound
because the bomb, because the bomb
Because the bomb was built to end resistance
And every word and every sentence
Was a target at short distance 
and the long too
And no one knew if they belonged to the system 
But when the system was pursuing their existence
they built bomb, because the bomb

Because the bomb, because the bomb y’know?
Because if anything goes wrong you just have to drop a bomb And that it’s all
And that’s your problems solved 
And then you have to drop a bomb And that is all
So drop the bomb already
And keep on dropping bombs until they give thee enough credit
Until everyone has read it on the magazines 
And on the newspapers
Next to the gun machines 
Next to the notes on new Nazis and rapists

Just build a bomb
Just drop the bomb 
because the bomb

The Bomb

It’s so beautiful isn’t it?  when  two complete stranges Cruzan las miradas y después no pasa nada
When you can come near that special someone, and that special something turns into nothing special really
It’s the beauty inside the nothingness that has really got my attention tonight, it’ s not the moon is not the stars is not the ugly birds flying in the sky. Is not your eyes, it’s the nothingness, the strange feeling that I don’t have to fill the empty space with anything else

The bomb

It's the nothingness

Never have we ever seen the face of the creator
for whomsoever our faith begun accelerating 
residing and dwelling in books of old and ancient
beliefs and rules written from past to future generations  
Rotting down the walls , 
underneath the very rocks were angels fall, in hell, 
beneath the heaven Stuck  with  chains and shackles 
regretting all the good and evil in a murky cell  
while being devoured by jackals

The genocide began with persecutions
With people chasing their brothers and sisters
grounded on their own illusions 
Standing on riddles and whispers
Purging any impudence or nuisance
Unconsciously preying down after their victims 
While consciously praying up before the lord for victory
Without having ever seen thy face or known thy history
And through the ages the faith they knew  to the creator
knew no resistance And begun accelerating 
residing and dwelling in books of old and ancient
beliefs and rules written from past to future generations  

Rotting down the walls , 
underneath the very rocks were angels fall, in hell, 
beneath the heaven  Stuck  with  chains and shackles 
regretting all the good and evil in a murky cell  
while being devoured by jackals

Old and Ancient

Ahí va un Capricho Árabe con mil errores, pero con amor

Tarrega - Capricho Arabe - Ro Carrasco Take 2

Tárrega- Recuerdos de Alhambra

I just found out how to improv with a Celtic sound. Most occidental scales have a "leading note", which means the 7th degree is half-tone below the tonic (1st degree). Spanish music has its leading note on the 2nd degree (half-tone above the tonic ). However there are modal scales that do not have a leading note, that means, both 7th and 2nd degrees are one full tone away from the tonic. These modal scales are the Doric, Eolian and Mixolydian, but also the Melodic Phrygian (relative to its 4th degree's melodic minor) , and the Melodic Lydian ( relative to its 3th degree's melodic minor). This little improvisation plays along these modal scales, with a very "Celtic" sound.

Celtic Improvisation in Guitar

This is small improvisation of arpeggios on a melodic line I wrote on Guitar Pro (shown in the photo). The melodic line modulates arbitrarily between 5 different musical modes that have a root on E and a leading note on F.  Then, I counted which chords were the most frequent among these modes. They were D-minor, E-dim, E-minor, F and G-minor. I then just improvised arbitrarily using arpeggios of these chords while Guitar Pro reproduce the melodic line. The result approximates flamenco, but with a more Locrian rather than Phrygian sound.

Ro Carrasco 6