Name: MamaSuzy by Paulo Medias Project
Duration: 10 min 8 s
Description: 7/8 Modal Harmonic Improvisation :10 composition looking to get help from others to complete the story of a Tele Screen George Orwell Space Opera World in need of a department of Ethics and Morality to regain Truth and Hope with Love for Family, God and Country...

wonderful composition and piano playing !

7/8 Modal Harmonic Improvisation :10 composition looking to get help from others to complete the story of a Tele Screen George Orwell Space Opera World in need of a department of Ethics and Morality to regain Truth and Hope with Love for Family, God and Country...

MamaSuzy

Aint on Shit ft Mixed Boi

The search for a more peaceful existence away from the commotion, corrupt or not, of society.

Let Me Go

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

Only a love song. Not more, not less.
A very easy song, very easy to play, very easy to sing, perhaps a song to sing along? We composed this music, what could you do with this? It developped into a love song, what else could this music be? We usually don't write ordinary love songs, but why not occasionally...

Time With You Began

Enogoo  Trio : Piano, Base, Drums and Synthesizer

Mediterranean

Re-make of Mono-ha’s “Unbroken Sorrow”

Composition - Beta

Blastoid (Loop) 140

Decoherence

Bandcamp

Marbled Sodalite Spheres

Space Development

instagram.com/a2rbeatz/

a2rbeatz.beatstars.com

HUNDREDS - TRAP LOOP 120 BPM  @A2RBEATZ

"Cherish your visions and your dreams, as they are the children
of your soul, the blueprints of your ultimate achievements. "
-- Napoleon Hill

Corollary: Your visions and your dreams are gifts from ancient times,
carried forward by ancient travelers with amazing stories to tell. Cher-
ish, nurture, develop and share your visions and your dreams, your,
spirit, your ideas and your creativity. In Life:  Live, Love, Learn,
Laugh and Leave a caring Legacy for the benefit of others. Be
remembered as giver and caring soul that gave to others in
abundance, working toward a better World for humanity.
--- Paulo Medias Project

Keyboard Player/Singer Songwriter... Synth/Wave  exploration... 
Logic Pro X 

Thank you for Listening...

Paulo Medias Project INFLUENCES:

Early Genesis,Bach,Peter Gabriel, Mozart,Pink Floyd, Chopin,
Gentle Giant, Beethoven,King Crimson, Spud Murphy(EIS),
Benny Goodman,David Bowie, Duran Duran, Enigma, King Crimson, Dream Theater, Porcupine Tree, Cure, Cold Play, Gordon Lightfoot,Radiohead, Muse, REM, Camel, Yes, Robin Trower, Hendrix, Kinks, Beatles, Bad Finger...

Thanks for Listening and Creating...

MamaSuzy

Paulo Medias Project

Recent comments

Rob Terstall

RESC

Cumbrian

Disjoin

Related tracks