Name: Mistakes And All - The Brass REDUX By TheGat(s) by KimBo
Duration: 3 min 29 s
Description: Huge Thanks to the https://soundcloud.com/thegats . Please check him out

Guitar is cool 😎 nice bluesy vibe to the song 🔥🔥🔥

Ya man! What a great arrangement. Live that guitar tone, and the horn stabs are killer. So good!

Huge Thanks to the https://soundcloud.com/thegats . Please check him out

Mistakes And All - The Brass REDUX By TheGat(s)

Drums - Mick Mack
Slide Guitar, keyboard, vocals - Phaggot
Bass - Dick Wartz

Who Were Fanny and Phaggot?

Reimagined this older song after being inspired in my backyard...

Firefly

Original Instrumental by HEDONI ↯TICK ALTVR 
Find their current page at https://soundcloud.com/forcefielddragons2358

Added Lyrics and Vocals by Mariam Zohra D : Myrh

PEACHES ON SATURN
________________________
Do a little dance

To gain experiences with nature
Your place and your people your plants
And your crystal dance

Increase energy levels
Cultivate, cultivate experiences involved in nature
Increase energy levels
Energy! Energy! Energy levels!

Grow my communities
Grow my communities

Deep in a dance - I’ll be a long time away
To gain experience
I’ll be a - drop of a dime
All my worries are wasting away - 
Get involved in nature

Baby, baby, get involved in nature
Get involved with nature.

Start new projects
Start new Ways!

Peaches On Saturn | Maat - HEDONI ↯TICK ALTVR

Living High

Having washed his soul in the River, the main character from my last song has now become a better Man, well nearly a better man. When you listen to the lyrics i think we may all agree that he might have to make a visit back to the River ..pretty soon.

Used the same guitar as the last time, added some distortion to the lead guitar to add dynamics at the chorus and introduced an acoustic guitar in the Right speaker with the bridge pick up guitar in the left speaker, sort of spreads the sound, I loosened the snare on the  snare drum to get more of a rattle and pumped up the kick a bit. Hope you like it ..All you sinners .

Written, played and produced by: The sinner Johnny Mc Farlane.

A Better Man

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)

24.10 Pacific - Rhythm of the Ocean

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.

Mistakes And All - The Brass REDUX By TheGat(s)

KimBo

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