Name: Linia życia/lifeline by Zabirski
Duration: 3 min 30 s
Description: Free download--> https://www.zabirski.art/library/tracks/252

dramatical, pittoresk, very narrative and good piece !

An awesome track, I like the sound of the acoustic guitar.

Awesome guitar, very emotional !! Great tune✨️

The Alpha and The Omega Acoustic

 Nights

Red Skies At Night

Free download--> https://www.zabirski.art/library/tracks/252

Linia życia/lifeline

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

Firefly

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

This is actually a remix of the song “Where We Want To Be” which I shared about four years ago when I first joined Soundcloud.   “Winter's Road” was in fact the original title when the song was written.  So I decided to fall back to that with this remix.   See what you think.

Thanks so much for stopping by.

[Credits]
Music / Vocals / Arrangement / Programming / Keyboards – Michael C. Lynn
Lyrics – Ron Carnell
Electric Guitar Solo (Intro & Ending) – Dave Cleveland @Band_in_a_Box
Piano Solo - John Jarvis @Band_in_a_Box

[LYRICS]
I cannot speak for all who stem
Long road less traveled as their way,
Nor question choices made by them
In days long past or nights long dim
By words they spoke and did not say.

(Chorus)
All roads lead to where we go
Where we go is where we have been,
So home’s just a word we know,
For where we want to be again.

From North to South, then back again,
I followed birds like all the rest
Escaping nature's snowy den
On roads I've seen and places been,
Forsaking roads that traveled West.

Repeat Chorus

For even home, it seems to me,
Is still a choice we all must face
From day to day and endlessly,
To choose if home is gonna to be
Another road or just a place.

Repeat Chorus

© Myst Songs 2018 / 2023

Winter's Road

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

Full EP togglethemuse.bandcamp.com/album/silicon-sun

Spotify open.spotify.com/album/78Qh9lc8iA…JwQaG58XxAU5kKug

Printing Water

Summer Day of Bliss

Unsinn by WÜST

🎶 All songs can be downloaded for free at https://www.zabirski.art/library/albums
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Linia życia/lifeline

Zabirski

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