Race Of Night Thoughts (Remastered)

Last winter, I heard Daphne Eckman play this song & it melted me. Winter blues, seasonal depression, whatever you call it...this song perfectly represented the flipside of the holiday cheer so many of us battle with this time of year. We set up some mics in an old barn  & Daphne started playing. Her 3rd take made everyone’s hair stand up. I added bass + ebow & we sent it off to John Baldwin for mastering in Nashville, TN.              - Aaron

For additional info & vinyl pre-order visit http://3eyedghostcat.com

Another Year 7"

Another Year Daphne Eckman 3EGC

Music improvised over the recording of my wife telling the story of an intense dream.

A Desperate Place

All improvised in one take, all guitar on this is Ebow.

7. Louise's Dog Walk

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Composed, arranged, performed, and produced by:
Carlos Vivanco

Lluvia De Estrellas

Surreal Awake

Written for cello and fretless guitar with eBow, the piece is an experimental work for microtonal harmonies. It was originally written for a solo fretless guitar.

The Birth Of A Rainbow (Demo)

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

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3 phased loops occupying 4 different spaces.
Ebow and baritone guitar + Eventide magic.

The Heart Still Beats (Baritone Ebow Study)

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Sticks, Twigs, Branches (2022) composed by Frankie Dyson Reilly for Decibel ScorePlayer. 

From the performance notes: "Sticks, Twigs, Branches is an exploration of the soundworlds that can be activated by combining diverse instruments of the string family. Piano, violins, and guitar are all plucked and bowed in turn, with each performer drawing on their individual interpretation of coloured imagery to weave their own unique experience into the fabric of the work."

A special thank you is owed to the wonderful performers/collaborators who each contributed their creativity and uniquely shaped the visual and musical outcome of this work.

Flora Wong (violin)
Lexi Gorton (violin)
Rani Tesiram (violin)
Libby Myers (electric guitar)
Frankie Dyson Reilly/myself (piano)

Audio recorded and mixed by Harry Powell.

Sticks, Twigs, Branches(2022)

Red Rainbow (Demo)

Composed, arranged, performed, and produced by
Carlos Vivanco & Jason Mowry
Final mix by Jason Mowry
@asleepwithheadphones
@lazydadamusic

Dreamchasing

Dreamchasing by Jason Mowry & Carlos Vivanco

Intuitive, improvised electronic music. Soul search in sound.

Sonic Search is a way to explore my interests in art, abstract sound, improvisation and collaborative music practices. A way to connect to the Source. A personal sanctuary and retreat.

As a former self-taught bass player who had a many-year break from music-making, I'm grateful to my friends who helped reignite my passion for making music in new forms.

We capture "field" recordings of indie  artists & develop them into limited run physical releases.

Hell of Rainbows is an experimental microtonal and xenharmonic music project. Come jam with us in Berlin, if you're also exploring new ways of music! The project is supported by Mizzan  Microtonal Piano (http://mizzan.de).

Composer, pianist and interdisciplinary artist-researcher living in Meanjin

Music is a moral law.
It gives a soul to the universe, wings to the mind, flight to the imagination, a charm to sadness, gaiety, and life to everything.
It is the essence of order and leads to all that is good and just and beautiful.
-Plato-
Born in Mexico City in 1955, started playing at an early age. In Mexico, I played with many bands like "Batallón de San Patricio", "Atrás del Cosmos", "Queso Sagrado", "Syntoma", " Broken Heart", "Decibel", "Bardo Thodol", and "Kathmandu Ensemble". In New York City I played with Bands like  "Volti", "King"s East", "In The Service Of", "Fist of Facts", "Desire", "Dense Undergrowth"," "Matahari", "Like Wow", "Devil's Breakfast", "Muse Mob", "Atlantis 3000", "Monster", "Zenith", "Andromeda Crash" "Night Shade", I also collaborated with Hector Zazou, Harold Budd, Elliott Levin, Dennis Charles, and many others. For many years I also wrote Jingles for a lot of products like Coca-Cola, Pepsi, Mc Donalds, Toyota, Kodak, Payless Shoes, Rothman's, Salsa Tabasco, JC Penny, Liberty Science Center, American Heart Association, MCI, Reebok, AT&T, Fanta, Play Movil, etc, I also made music for Viacom writing music for cartoon networks, Bravo TV, Chanel 1, and MTV. Also wrote music for Bill Moyers (PBS)and also for Fax TV in Germany.

Multi-instrumentalist, live looper, and composer.   One half of the dark hard rock group ASNT.

New tracks tagged #EBow