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Playlist of Relative Silence

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  • Imagine Dragons - Radioactive

    4:22

    Get Origins, ft. Natural, Zero, Machine and Bad Liar, out now:

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    Music video by Imagine Dragons performing Radioactive. © 2012 KIDinaKORNER/Interscope Records

  • x
  • Mark Ronson, Miley Cyrus - Nothing Breaks Like a Heart

    3:38

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  • Patience

    4:25

    Music video by Nas & Damian Jr. Gong Marley performing Patience. (C) 2010 Universal Republic Records, a division of UMG Recordings, Inc.

  • Lewis Capaldi - Someone You Loved

    3:53

    Get the extended edition of my debut album 'Divinely Uninspired To A Hellish Extent' here:

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    Stream/download ’Someone You Loved’

    ——————————————————

    IN PARTNERSHIP WITH UK ORGAN DONATION CHARITY
    LIVE LIFE GIVE LIFE

    About Live Life Give Life:
    At some point in our lives we all want to create a powerful legacy and make a positive contribution to the world. Becoming an organ donor is the first heroic step to creating this legacy – the gift of life. Live Life Give Life is committed to celebrating organ donation and inspiring the individual to leave a positive legacy that lasts for generations. Our goal is to motivate everyone in the UK to register as an organ donor. We want people from all walks of life to sign-up to the NHS Organ Donor Register, and to speak-up and share the decision they’ve made.
    Live Life Give Life. Make it your legacy.



    Jim Lynskey works closely with the donor awareness site Save9Lives to raise people’s awareness and understanding of organ donation. “I’ve been aiming to raise awareness for organ donation with Save9Lives ( which works in partnership with The NHS. I formed the campaign when I was transplant listed back in 2015 - it was the fact that one organ donor can potentially save 9 people which really stuck with me amongst the sobering statistics of current donor shortages in the UK. I’ve been unable to access a new heart so far, so I’m now being kept alive with an electric heart pump. I thought I would drive the frustrated energy associated with my experiences into this vibrant Save9Lives campaign message, and I’ve since received some very humbling support from many within the music industry. As a fan, it’s a huge honour to work with Lewis alongside his incredible Someone You Loved video. Register as an organ donor at Save9Lives ( will allow us to track how many people have been inspired by Lewis’ powerful message illustrated in his video release. I’m sure I speak on behalf of the 6000+ patents awaiting a transplant today in saying thank you for raising such vital awareness, in celebration of Someone You Loved”

    ——————————————————

    Lyrics

    I’m going under and this time I fear there’s no one to save me
    This all or nothing really got a way of driving me crazy

    I need somebody to heal
    somebody to know
    somebody to have
    somebody to hold
    It’s easy to say
    but it’s never the same
    I guess I kinda liked the way you numbed all the pain

    Now the day bleeds, into nightfall
    and you’re not here, to get me through it all
    I let my guard down and then you pulled the rug
    I was getting kinda used to being someone you loved

    I’m going under and this time I fear there’s no one to turn to
    This all or nothing way of loving got me sleeping without you
    Now I need somebody to know
    somebody to heal
    somebody to have
    just to know how it feels
    It’s easy to say
    but it’s never the same
    I guess I kinda liked the way you helped me escape

    Now the day bleeds, into nightfall
    and you’re not here, to get me through it all
    I let my guard down and then you pulled the rug
    I was getting kinda used to being someone you loved

    And I tend to close my eyes when it hurts sometimes
    I fall into your arms
    I'll be safe in your sound til I come back around

    For now the day bleeds, into nightfall
    and you’re not here, to get me through it all
    I let my guard down and then you pulled the rug
    I was getting kinda used to being someone you loved

    But now the day bleeds, into nightfall
    and you’re not here, to get me through it all
    I let my guard down and then you pulled the rug
    I was getting kinda used to being someone you loved

    I let my guard down and then you pulled the rug
    I was getting kinda used to being someone you loved

  • x
  • Julien Doré - Sublime & Silence

    7:37

    Réalisé par Brice VDH & Julien Doré
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    & - nouvel album disponible :
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    #JulienDore #SublimeSilence #Vevo

  • Beethoven - Moonlight Sonata

    15:00

    Beethoven - Moonlight Sonata (FULL) - Piano Sonata No. 14

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    The Piano Sonata No. 14 in C♯ minor Quasi una fantasia, op. 27, No. 2, by Ludwig van Beethoven

    The sonata has three movements:

    0:00 1 mvt: Adagio sostenuto
    6:00 2 mvt: Allegretto
    8:05 3 mvt: Presto agitato

    Adagio sostenuto

    The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a lamentation, mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or very quietly, and the loudest it gets is mezzo forte or moderately loud.

    The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it is one of those poems that human language does not know how to qualify. The work was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Carl Czerny, Surely I've written better things.


    Allegretto

    The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as a flower between two chasms.[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movement's cheerful disposition.


    Presto agitato

    The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.

    It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopin's Fantaisie-Impromptu, which manifests the key relationships of the sonata's three movements.

    Of the final movement, Charles Rosen has written it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.

    Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
    Beethoven's pedal mark
    See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals

    At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: Si deve suonare tutto questo pezzo delicatissimamente e senza sordino. (One must play this whole piece [meaning movement] very delicately and without dampers.) The modern piano has a much longer sustain time than the instruments of Beethoven's day, leaving for a rather blurry and dissonant tone.

    One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethoven's original direction.


    #Beethoven #Piano #ClassicalMusic

  • x
  • TobyMac - Family

    3:51

    Official lyric video by TobyMac for the song “Family” from the album Eye On It.
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    Music video by TobyMac performing Family (Lyrics). (P) (C) 2012 ForeFront Records.

  • Pink Floyd - Time

    7:06

    Lyrics:
    Ticking away the moments that make up a dull day
    Fritter and waste the hours in an offhand way
    Kicking around on a piece of ground in your home town
    Waiting for someone or something to show you the way

    Tired of lying in the sunshine staying home to watch the rain
    And you are young and life is long and there is time to kill today
    And then one day you find ten years have got behind you
    No one told you when to run, you missed the starting gun

    And you run and you run to catch up with the sun, but it's sinking
    Racing around to come up behind you again
    The sun is the same in a relative way, but you're older
    Shorter of breath and one day closer to death

    Every year is getting shorter, never seem to find the time
    Plans that either come to naught or half a page of scribbled lines
    Hanging on quiet desperation is the English way
    The time is gone, the song is over, thought I'd something more to say

    BREATHE REPRISE
    Home, home again
    I like to be here when I can
    And when I come home cold and tired
    It's good to warm my bones beside the fire
    Far away across the field
    The tolling of the iron bell
    Calls the faithful to their knees
    To hear the softly spoken magic spells.

  • Queen - Bohemian Rhapsody Worst Cover Must See

    6:25

    Many thanks for watching and if you have few minutes, please check out both my Facebook and Soundcloud channel
    Would appreciate any subscribers.

    Thanks for watching....
    Bohemian Rhapsody - The greatest song ever written by Queen
    2009
    randy echon vocals
    walter alquino vocals
    rean monti corum guitar
    raizenron dollosa guitar/keyboard
    roland gomez bass
    john paul leonerio drumz

    1. Thought Chamber
    2. Frameshift
    3. Redemption
    4. Dysrhythmia
    5. 7 for 4
    6. Derek Sherinian
    7. Ian Parry
    8. Indukti
    9. Shadow Gallery
    10. Memento Mori
    11. Karcius
    12. Dominici
    13. Kenziner
    14. Alarum
    15. Octopus
    16. Relative Silence
    17. Anubis Gate

    1.Blotted Science - Synaptic Plasticity
    2.Canvas Solaris - Gama Knife
    3.Conception - Retrospect
    4.Pain Of Salvation - To The End
    5.Artsruni - Cruzaid (Part Two)
    6.Charisma - State Design
    7.Andromeda - The Words Unspoken
    8.John Petrucci - Jaws Of Life
    9.Gordian Knot - A shaman's Whisper
    10.Liquid Tension Experiment - When the Water Breaks
    11.Spiral Architect - Spinning
    12.Spastic Ink - Just a Little Bit
    13.Attention Deficit -Unclear Inarticulate Things
    14.Dali's Dilemma - Ashen Days
    15.Dream Theater - The Mirror
    16.Zero Hour - Evidence Of The Unseen

  • x
  • Simon & Garfunkel - The Sound of Silence + Lyrics

    3:09

    Simon & Garfunkel - The Sound of Silence + Lyrics
    Hello darkness, my old friend,
    I've come to talk with you again,
    Because a vision softly creeping,
    Left its seeds while I was sleeping,
    And the vision that was planted in my brain
    Still remains
    Within the sound of silence.

    In restless dreams I walk alone
    Narrow streets of cobblestone,
    'Neath the halo of a street lamp,
    I turned my collar to the cold and damp
    When my eyes were stabbed by the flash of a neon light
    That split the night
    And touched the sound of silence.

    And in the naked light I saw
    Ten thousand people, maybe more.
    People talking without speaking,
    People hearing without listening,
    People writing songs that voices never share
    And no one dared
    Disturb the sound of silence.

    Fools said I,You do not know
    Silence like a cancer grows.
    Hear my words that I might teach you,
    Take my arms that I might reach you.
    But my words like silent raindrops fell,
    And echoed
    In the wells of silence

    And the people bowed and prayed
    To the neon god they made.
    And the sign flashed out its warning,
    In the words that it was forming.
    And the signs said, 'The words of the prophets are written on the subway walls
    And tenement halls.
    And whisper'd in the sounds of silence

    * The Soud of Silence LYRICS/MUSIC are the property of the respective authors, artists and labels, the lyrics are provided for educational purposes only, If you like the song, please buy relative CD*

  • Make Your Own Drum Kits - How to Make Kicks

    1:22:16

    I will show you the step-by-step process of making HARD kicks. This is just a sample from our premium section.

    Click Here to Learn How to Make Drum Kits and Higher Level Music Production Training

  • The Most Important Music Theory Lessons - Intervals - Ukulele Music Theory Tutorial

    17:25

    New Ukulele Tutorials every Wednesday and Saturday

    Today we are going to do the most important music theory lesson. We are breaking down intervals, what they are and how to use them. An interval is unit of measurement that measures the distance between two notes. They are used mostly once you have established a root note, or key that you are playing in. All scales and chords follow interval formulas, so knowing what they are means you can construct scales. For example the major scale is Root, 2nd, 3rd, 4th, 5th, 6th, 7th, while the minor scale is Root, 2nd, b3rd, 4th, 5th, 6th, b7th. Knowing that I can construct any scale and any chord if I know the formula. I can also study the stability of intervals and use my knowledge of intervals to compose interesting and strong melodies as well.

    Tabs for all our tutorials here:

    Let's see you play it!

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    The Most Important Music Theory Lessons - Intervals - Ukulele Music Theory Tutorial

  • Logic Pro X - Video Tutorial 12 - Snap Modes, Absolute Grid, Relative Grid

    10:41

    In this video we cover:
    1. Using the Snap Modes in Logic X
    2. Absolute Grid vs. Relative Grid

    EXTERNAL LINKS:

    Mayday Children on iTunes:


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  • How to Sound Like Beethoven

    15:20

    How to Sound Like Beethoven, with an emphasis on his piano sonatas in celebration of his 250th celebration. 00:48-5:00 deals with the sonata-allegro form and other motivic elements, 5:00-10:43 I pull examples from his piano sonatas, 12:30-14:47 is my sonata movement Happy Birthday in the Style of L.V. Beethoven.

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    As always, thank you so much for watching, and thank you to all of you that leave comments.

  • Leçon de piano n°4 : Comment les notes font-elles du charme

    12:36

    Tous les samedis à 17h sur France Inter, retrouvez André Manoukian pour sa leçon de piano dans Les Routes de la Musique.
    Le podcast de l'émission:

  • You & I - by Antoine Dufour

    6:02

    Here's a harp guitar version of my old song «You & I» (Toi et moi). That's a song that I actually wrote just before getting this harp guitar. It was inspired by Stephen Bennett playing his harp guitar. I was trying to emulate the feel of his writing on harp guitar, but on my 6 string. I recently remembered that this tune was meant to be played on harp guitar and decided to work on it.

    It's a song I wrote for my wife, Annie. You can find a lot of symbolism in this tune about 2 people or duality, combination, completion, etc. The major chord versus it's minor relative (F#m9 and Amaj7), male female, etc. Of course it depicts our relation. This version show also evolution in that relation. Happy moments, moments of sensibility, as well as the ones that seems like chaos at times. You know, those very quick moments when everything climbs up so fast emotionally, leading into incertain periods. The clock of time at the end represents my wish to make this relation stand the test of time. The ending chord is a D maj9 #11 which contains the 2 chords together for obvious reason. Hope you dig it.

    The tuning is:
    harp, low to high: E, F#, A, C#, D, E
    Guitar, low to high: F#, A, D, G, B, E, w/partial capo on the 4 first strings 2nd fret.

    It's a Duane Noble Harp Guitar:

    Recorded with 3 mics:

    Charter Oak E700
    Charter Oak M900t
    Royer R 10


    I use:
    Ernie Ball Strings:

    DiMarzio Pickups:

  • HITECH PSY-TRANCE ◉ Kokobloko - Whispers Of Silence 178 Bpm ᴴᴰ ????.·๑????

    8:19

    ➠ SUPPORT! :) & BUY this album in high-quality WAV and more @
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    OUT NOW | VA - CYBERPUNK VOL.1 | TR004

    RELEASE DATE : 11.01.2019

    LABEL : Tryptech Records

    Cyberpunk is a sub-genre of science fiction in a futuristic setting that tends to focus on a combination of lowlife and high tech featuring advanced technological and scientific achievements, such as artificial intelligence and cybernetics, juxtaposed with a degree of breakdown or radical change in the social order.

    Tracklist:

    1. KrankZinnig & Narxz - Little Story - 170 BPM
    2. Dioxid - Next Category - 172 BPM
    3. K-Freq - Night City - 177 BPM
    4. Kokobloko - Whispers of Silence - 178 BPM
    5. Sonic System - Kontrol - 185 BPM
    6. Single Player - Departure - 185 BPM
    7. Neuro Twister & Shake Shameless - Magic Kobold Flute - 185 BPM
    8. Coji - Project 2501 - 186 BPM

    Genre: Electronic / Hitech / Hyperspace

    Album Cover Artwork: Graphix Lab Co.
    Mastering: Tryptech Records
    Credits: Cyberpunk 2077

    We ♥ Hitech Trance

    Tryptech Records was Founded in the Year 2017 with an aim to Explore the Hitech / Hyperspace Music for Intergalactic Higher Conscious beings in the Universe.

    We at Tryptech believe all matter is merely energy condensed to a slow vibration & we are all one consciousness experiencing itself subjectively & going beyond the limits of all possible experience & knowledge is the Key to the Universe. Our aim is to take you to a journey of inter-dimensional space travel basically known as Astral Travel to enhance your Subconscious Mind Realms.





    ► Listen to the full albums VA - Cyberpunk Vol. 1 & 2 @




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    ???? The music in the above video is not free to use, if you'd like to use the music or album artwork from this video, please contact the artists. ????

    ???? Shared here with permission from the label for promotional purposes only.


    ✍️ For any copyright issues, please message us at:

  • Joseph Haydn / Symphony No. 39 in G minor

    20:35

    Franz Joseph Haydn (1732-1809)

    Symphony No. 39 in G minor, Hob. I:39 (1767/68)

    00:00 - Allegro assai
    05:57 - Andante
    11:58 - Menuet & Trio
    15:40 - Finale. Allegro di molto

    L'Estro Armonico, dir. Derek Solomons (1982)

    Haydn's G minor Symphony [No. 39] is original in many ways, not only for the harshness of its language, especially of the first movement and Finale, but for its orchestration. Here Haydn uses four horns, two in B flat alto and two in G. This means, firstly, that he can create sumptuous horn chords, and secondly, that he has a pair of horns at his disposal when he modulates to the relative major. Haydn's work had far-reaching consequences. J.B. Vanhal modeled at least one of his two G minor Symphonies on it, even to the four horns, and so, almost immediately, did J.C. Bach and, in 1773, W.A. Mozart (in K. 183, also with the four horns). It is also worth recalling that when Mozart started to compose the great G minor Symphony K. 550, he first used four horns, two in B flat alto and two in G, later reducing them to two.

    The first movement of No. 39 is curiously unsettling. The main theme is announced and continued piano, and the tension inherent in its thematic layout is heightened by the extraordinary use of silence between the various sections. (This use of rests to increase the dramatic effect becomes a very important detail in Haydn's mature style, of which we are now on the threshold; no one knew better than he how to employ the art of silence, and many of his finest effects are derived by the single expedient of inserting a pause in the right place.) To give the second part of the melody a still more individual twist, Haydn stretches the last phrase with its characteristic octave sip, so that the theme simply dies away to nothing. The structure of the three component parts (4+6+4) is also cleverly veiled by the insertion of rests. Having achieved such a restless, almost frustrated atmosphere, Haydn creates a still more unified tension by employing this one theme throughout the movement. Indeed, Haydn cannot escape the hypnotic effect of his principal subject: he modulates from the tonic to the relative major: and the first subject appears, extending itself contrapuntally. In the development he reaches a superb, five-part tutti in which the violins, in imitation, sweep through a fine sequence; and again, we see that the oboe part is based upon a tiny fragment of the main theme, the string parts being derived from a figure found at the end of the exposition which, in turn, developed out of the principal theme. The whole movement is held together by a device which we have come to know well in the previous period: a bass line constantly moving in quavers.

    After the force of the first movement, the quiet little Andante, for strings only in E flat, is a throwback to an earlier style: Haydn has not yet learned the secret of maintaining tension throughout a whole work. The Minuet is a serious piece worthy of the outer movements, while the Trio, in B flat (the relative major), is again rather jovial. It is only the Finale which really reaches the inspiration of the first movement. Here we have, in a symphony in a minor key, the same highly advanced type of movement [found] in No. 38. If the two middle movements of No. 39 were on the same artistic level as the outer allegros, we would have had one of Haydn's finest 'Sturm und Drang' symphonies; as it is, this flawed masterpiece is one of the most interesting of this strange interim period. What makes this Finale successful is not only the energetic drive and the nervous semiquavers which carry on the restless spirit of the opening movement, but the care with which Haydn has provided a number of dynamic contrasts; thus, the violins rush down the scale into a 'subito piano', while after the double bar, the first and second violins have a long passage by themselves, 'piano'; and the rest of the development is characterized by continual alterations of 'f' and 'p'. - H. Robbins Landon

    Painting: Sturm und Regen in einem Holländischen Hafen, Andreas Achenbach

  • 4everfreebrony - Time Is an Adventure 2019 Remaster

    3:39

    Link to album:

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    Follow me!
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    --------------------------------

    Just thought I'd put publish this remastered version for those who've been with me for all these years. And to those who have never heard it, I hope you like it! It features the vocal talents of Feather, who's channel you can find below!



    --------------------------------

    That awesome artwork was done by Szymon Furjan!



    --------------------------------

    Lyrics:

    (v1) (Feather)
    No mistake, even given a blindness
    You can see through me
    Give or take, I'll be waiting in silence
    Don't know where I'll be
    Please don't try to go lookin', boy
    Seems you've left me without a choice
    Run away, 'cause there's no game to play now
    Or run away with me

    (chorus) (both)
    We know we're in it together
    For all that it's worth
    And it shows, despite all our efforts
    But it could be worse
    (Feather)
    I've never met another like you
    (Everfree)
    You shadow everything that I do
    (both)
    And I'm told that time's an adventure
    But when it's standing still
    It's a thrill

    (SOLO!!)

    (v2) (Everfree)
    Count the stars, spread your wings, push your limits
    But you know who you are
    Play the part, don't get lost when you're in it
    Don't try to go too far
    I know you're more than you look like
    You were a treasure at first sight
    So climb aboard, jump the track, start to finish
    Just follow your heart

    (bridge) (both)
    But if the whole world paused for us, could it be
    That I belong to you, and to me?
    And if they knew, then would they see
    That it's no sin to want to be free?

    (repeat chorus) (both)
    We know we're in it together
    For all that it's worth
    And it shows, despite all our efforts
    But it could be worse
    (Feather)
    I've never met another like you
    (Everfree)
    You shadow everything that I do
    (both)
    And I'm told that time's an adventure
    But when it's standing still
    It's a thrill

    It's a thrill

  • Relative Silence - Ciudad de Ángeles

    6:13

    Extraído del mini CD Mixture? (2002)
    Ilustración Daniel Alonso Digital Art

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  • Relative Silence - Colapso Emocional

    5:27

    Extraído del mini CD Mixture? (2002)
    Ilustración Daniel Alonso Digital Art

  • Relative Silence - Siento

    7:57

    Extraído del mini CD Mixture? (2002)
    Ilustración Daniel Alonso Digital Art

  • Dias Extraños - Relative Silence

    6:22

    Aportacion de Victor Garcia con Relative Silence del disco Mixture? y la cancion que lleva como tema DIAS EXTRAÑOS!!!

  • Relative Silence Días Extraños

    6:22

    Extraído del mini CD Mixture? (2002)
    Ilustración Daniel Alonso Digital Art

  • Can You Feel the Silence

    4:52

    Provided to YouTube by Kontor New Media GmbH

    Can You Feel the Silence (Extended) · Dream Dance Alliance & Talla 2XLC

    Can You Feel the Silence

    ℗ 7th Sense Records (LC-14521)

    Released on: 2019-02-15

    Artist: Dream Dance Alliance
    Artist: Talla 2XLC
    Music Publisher: EMI Music Publishing
    Composer, Lyricist: Martin Gore

    Auto-generated by YouTube.

  • Absolute Pitch Final Showcase 2019 - Sound of Silence

    4:02

    Vocals: Ryan, Jerry, Josh, Emily L, Mandy, Jamie
    Dancer: Pat
    Featuring Hiok on the piano

  • Nigel Potter - Relative Silence

    4:12

    from the album Relative Silence

  • Plusma - Waver Full BeatTape

    28:21

    The Music Bay - The most relaxed place to find music.

    Tracklist:
    00:00 - Relative timebomb
    01:31 - Sweetchop
    03:29 - Shadow Of Smile
    04:53 - Suliban
    06:00 - Nótt
    07:02 - Oyasumi
    08:47 - Lacus Benacus
    10:03 - Wateraum A
    10:42 - Vorhang
    12:02 - Violet Silence
    13:05 - Ode De Para
    14:32 - Wateraum B
    15:15 - Dual
    17:47 - Bye Bye Expression
    19:12 - Tgl
    21:06 - Jo - Growing up (Plusma Remix)
    22:52 - Wateraum C
    23:53 - philēo
    25:06 - Accidents
    26:17 - Verdattert



    ???? Plusma





    ???? Get the album here:


    ????Get a physical copy here:


    ????Art:

  • Silence is a Virus - Kavalier

    3:47

    Kavalier // Silence is a Virus // Silence is a Virus

    Support:
    YouTube:
    Facebook:
    Twitter:

    © 2010 Silence is a Virus

  • HITECH PSY-TRANCE ◉ Fele - Absolute Relative 200 Bpm ᴴᴰ ????????.·๑????????

    6:46

    ▶️ Album: VA - Melted Carbon Compiled by Orbital Transfer
    ▶️ FREE DOWNLOAD (WAV):

    ▶️ Release Note:

    Hello you crazy lovely people!
    First of all we want to thank everyone of you who listens to higher voltage sounds! you are awesome and without you it wouldn't be possible to run things like we do and also there were no reason to run it. We want to give something back and our next VA Melted Carbon is for free as a pre Christmas gift.
    We also want to thank every internal and external artist and supporters for the same reasons mentioned before.
    Big thanks and big love to all of you! We love you!
    have pleasant hollidays and a happy new year,
    Enjoy our next VA and stay Voltaged!

    A Higher Voltage Records production - December 24, 2018

    Album Cover Art by Alien Lab Design





    ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪

    ⚠️ This video may cause people with photosensitive epilepsy to convulse in seizures. Viewer discretion is advised. ⚠️

    ✍️ For any copyright issues, please message us at:

  • Moment of Silence

    5:18

    Provided to YouTube by CDBaby

    Moment of Silence · Osv

    Time Zone

    ℗ 2016 Osv

    Released on: 2016-01-22

    Auto-generated by YouTube.

  • Submerged in Silence: for Piano ,electronics, and image

    8:53

    對錯。On/Off。 。Inside/Outside。內外
    動靜。Motion/Stillness。 。Rapid/Innert。快慢
    強弱。Violent/Gentle。 。Thick/Thin。厚薄
    遠近。Distant/Imminent。 。Sparse/Dense。疏密
    虛實。Empty/Solid。 。Shine/Rain。晴雨
    呼吸。inhale/exhale。 。High/Low。高低

  • Violet Silence

    1:01

    Provided to YouTube by DistroKid

    Violet Silence · Plusma

    Waver

    ℗ Dezi-Belle Records

    Released on: 2016-09-09

    Auto-generated by YouTube.

  • Inflorescence of Silence

    6:28

    Provided to YouTube by The Orchard Enterprises

    Inflorescence of Silence · Odradek Room

    Bardo. Relative Reality

    ℗ 2013 Hypnotic Dirge Records

    Released on: 2013-05-13

    Auto-generated by YouTube.

  • RADIO SILENCE: Walk the Earth

    3:16

    rock music video regarding the 4% difference between us and our nearest relative on this earth.

  • Wings of silence

    3:46

    Provided to YouTube by Believe SAS

    Wings of silence · Gianni Lombardi

    Ibiza Cafe Lounge

    ℗ Zip Music

    Released on: 2008-03-25

    Author: Aldo Crianza
    Music Publisher: D.R

    Auto-generated by YouTube.

  • Disprove – No Silence

    5:26

    Full Track

    Track: No Silence
    Artist: Disprove
    Year: 2015
    Genre: D&B

    DISCLAIMER: I don't own the Tracks, or Images featured in this video, All rights go to their respective owners.

  • Veiled in Scarlet -Piano&Strings Arrange ver Digest-

    13:13

    Veiled in Scarlet
    - Piano&Strings Arrange ver Digest -

    1.An Act of God 0:00
    2.Whisper the Loud Silence 1:34
    3.Scarlet 3:25
    4.Buried in Shadow 4:47
    5.New Song-タイトル未定- 6:00
    6.Lament 8:49
    7.Reborn 10:18
    8.Drift 11:48

  • RED-Intro/Breathe Into Me-Guitar Cover

    4:40

    Hey, guys, long time no see. Here's another cover from me, this time it's Breathe Into Me by RED. Hope you enjoy. (I don't own the rights to the music, or the band.) I made a few mistakes, particularly in the chorus toward the end, but if you're trying to figure out the song, I think this oughta help. Also, sorry for the string slap on the guitar, and the relative lack of the original audio.
    Gear:
    Epiphone SG '66 reissue, in Silverburst.
    Fender Vibro Champ XD, (5 watt tube)
    Digitech RP100 effects pedal.

  • Linkin Park - Lost In The Echo

    2:38

  • Gala de l’ADISQ 2018 : Philippe Brach au sommet de son art?

    3:49

    La 40e édition du Gala de l’ADISQ se déroulait le 29 octobre à la Place des Arts, à Montréal. Trois ans après avoir remporté le Félix de la Révélation de l’année, Philippe Brach est reparti de la Place des arts avec celui, très convoité, de l’Auteur ou compositeur de l’année pour son travail d’écriture sur l’album Le silence des troupeaux, ainsi que celui pour du Spectacle de l’année – Auteur-compositeur-interprète. Dans cette entrevue vidéo accordée en salle de presse du gala au rédacteur en chef de Paroles & Musique Eric Parazelli, Philippe Brach partage ses réflexions sur son processus de création et sur la relative importance des récompenses.

  • Made To Meet You God — Christopher-David

    2:58

    — Made To Meet You God, Lyrics —  

    The thought of you,
    it quiets my thoughts that always seem to speak so loud
    I talk to you,
    and silence is your response with which you calm me down
    I walk with you,
    and time is just relative as you show me where you've been
    I sing to you,
    and inside it's as if everything finally finds it's place   

    Oh, my body, mind and heart 
    have been made to meet you God,
    have been made to meet you God
    Oh, my body, mind and heart 
    have been made to meet you God,
    Have been made to meet you God
     
    I try to take in
    all the beauty surrounding me, and in which I see your face
    And as the day is spent
    I am thankful I'm still living, and I recognise your grace
    I think about the wonder of
    life, and how it fills me up with awe for who you are
    And I could never doubt your love,
    as I realise that I've 
    always seen you change me

    Oh, my body, mind and heart 
    have been made to meet you God,
    have been made to meet you God

    In my body, mind and heart, 
    I feel I've been made to meet you God,
    I've been made to meet you God
    In my body, mind and heart, 
    I know I've been made to meet you God,
    I've been made to meet you God
    In my body, mind and heart, 
    I see I've been made to meet you God,
    I've been made to meet you God

    by Christopher-David

  • Hexalyte Silence ♫ 8D Audio ♫

    5:00

    Music provided by Argofox:
    Hexalyte - Silence


    At its core, the 8D effect tries to mimic the sensation of hearing a binaural recording, which places sounds in space relative to a human's head (rather than normal stereo recordings, which can only direct sound to the left and right speaker channels).
    8D Audio is one of the altered form of the 3D Music which enables you to heard songs in 8D. By 8D Music here we mean we have the opportunity to hear music coming from eight different directions. ... 8D Audio is a good music technology and you need to hear it once to get into the paradise of music!!☺

    Loop Intro: Tunnel Animated by Logan Kenesis:

    Loop video: HEXXX By Beeple:


    For copyright issues please contact me: Axelfox5000@gmail.com

  • Gioacchino Rossini - Les peches de vieillesse - En ce jour

    2:46

    Painting: Canal Landscape in Winter by Andreas Schelfhout.

    P.S. I'm using a portion of Quirino Principe's excellent essay (presented in Naxos' wonderful recording of selected Rossinian sins for piano) for the historical description, as the author wonderfully sums up all that is to be said on Rossini's Peches.

    History: Rossini drew a line under his own hugely successful operatic career at the rather young age of 37, barely twenty years after he had begun his revolution in 1810 with the little La cambiale di matrimonio: after Guillaume Tell, he withdrew almost entirely from composing into his own private sphere for the remaining 39 years of his life. His silence, however, was only relative, given that he frequently appeared in public, presenting such masterpieces as the sacred Petite messe solennelle and Stabat Mater. Most importantly, it was during these years of withdrawal from public life that Rossini created a series (fourteen volumes, in fact) of little musical miniatures entitled Les peches de vieillesse or Sins of Old Age. Each of the sins is a marvel of compositional inspiration, presenting the listener with something rich and strange, arousing a combination of admiration and curiosity. An elegant, innocuous cynicism flows through these tiny creatures.

    Music: Rossini's finest songs (and, thankfully, they are many) show off the composer's own best qualities: his wit, his panache, his sense of theatre, his ability to shape a melody in a way which briefly but surely touches the heart. The present piece, a brilliant Christmas carol for a four-part chorus, entitled Toasting the new year, is an ideal example of Rossini's extreme talent: in the confines of one short song Rossini manages to, of all things, the dizzying feat of celebrating both champagne and the blessed Virgin. The former is presented in the main running motive (0:16, 1:05, 1:56), acting as a main theme, incorporating lovingly humorous staccatos and delightful sudden changes of vocal interplay (for example, at 0:35, when only the basses state different words three times, after which the whole chorus repeats it in unison), as the singers present the listener with a list of pleasures, songs, presents, gifts that the coming new year promises them. The section is resolved twice by a gradually rising call to all assembled (0:36, 2:16 (in elaborated form)) to raise their glasses in celebration of the holiday. This sparkling melody is contrasted with a moving yet feather-light quasi-prayer (0:42) which features a most sublime flowing melody which is wonderfully elaborated in the soprano part of the chorus whose unusually ornamented lines act as a connecting motive between the two sections. The prayer then appears in episodic form (1:34, 1:46) to further enrich the musical development. Finally, a whole fa-la-la episode is inserted (1:26) as another lively humorous touch. A most wonderful carol of infinite enchantment.

    Recording: The present version of the piece comes from the 2002 recording of various songs by Rossini, entitled I gondolieri, a most perfect record. The chorus is sung by the extremely professional and dramatically vivacious Stuttgart Southwest German Radio Vocal Ensemble with able leadership from Eric Ericson.

    Hope you'll enjoy :).

    P.S. Once again, have a merry Christmas and a happy year :D!

  • LXA & Sarah Jane - Silence @ 432 Hz

    4:47

    Welcome! Original song(s) are time scaled & pitch shifted to 432 Hz then remastered.

    Use of created playlists is highly recommended. Read description for more info (click SHOW MORE).

    Monetisation for this channel is disabled.

    432 Hz is said to be mathematically consistent with the patterns of the universe. Studies reveal that 432hz tuning vibrates with the universe’s golden mean PHI and unifies the properties of light, time, space, matter, gravity and magnetism with biology, the DNA code and consciousness. When our atoms and DNA start to resonate in harmony with the spiraling pattern of nature, our sense of connection to nature is said to be magnified.

    Another interesting factor to consider is that the A=432 Hz tuning correlates with the color spectrum while the A=440 Hz is off.

    Audiophiles have also stated that A=432hz music seems to be non-local and can fill an entire room, whereas A=440hz can be perceived as directional or linear in sound propagation.

    Once you adopt the idea that sound (or vibration in general) can have an equilibriating and harmonizing effect (as well as a disturbing effect), the science of harmony can be applied to bring greater harmony into ones life or to atune to specific energies. There is a form of absolute and of relative harmony. Absolute harmony can for example be determined by the tuning of an instrument. The ancients tuned their instruments at an A of 432 Hz instead of 440 Hz - and for a good reason. There are plenty of music examples on the internet that you can listen to in order to establish the difference for yourself. Attuning the instrument to 432 Hz results in a more relaxing sound, while 440 Hz slightly tenses up to body. This is because 440 Hz is out of tune with both macrocosmos and microcosmos. On the contrary, 432 Hz is in tune. To give an example of how this is manifested microcosmically: our breath (0,3 Hz) and our puls (1,2 Hz) relate to the frequency of the lower octave of an A of 432 Hz (108 Hz) as 1:360 and 1:90.

    It is interesting to note that 432 Hz was the standard pitch of many old instruments, and that it was only recently (19th and 20th century) the standard pitch was increased. This was done in order to be able to play for bigger audiences. Bigger aduiences (more bodies) absorb more of the lower frequencies, so the higher pitch was more likely to “cut through”. One of the oldest instruments of the world is the bell ensemble of Yi Zeng (dated 423 BC), tuned to a standard F4 of 345 Hz which gives an A= 432 Hz. The frequency of 345 Hz is that of the platonic year! Similarly many old organs are tuned in an A=432 as well; for example: St. Peter’s Capella Gregoriana, St. Peter’s Capella Giulia, S. Maria Maggiore in Rome.

    Maria Renold’s book “Intervals Scales Tones and the Concert Pitch C=128hz” claims conclusive evidence that 440Hz and raising concert pitch above scientific “C” Prime=128hz (Concert A=432hz) disassociates the connection of consciousness to the body and creates anti-social conditions in humanity.

    The difference between concert pitch A=440Hz and Concert A=432Hz is only 8 cycles per second, but it is a perceptible difference of awareness in the human consciousness experience of the dream we share called existence.

  • George Floyd’s Last Words

    2:22

    Dear friends,
    Although I’ve always lived on the fringes of American society and culture, I have to acknowledge that I’ve lived a life of relative safety as a privileged white man. While, as a Jew, the experience of being oppressed is in my DNA, I’ve only personally experienced anti-semitism a couple of times in my life.
    So, I’ve had a hard time knowing what to say to address the murder of George Floyd and thousands of other black men and women in our country. Yet saying nothing is a failure to act. Silence is, indeed, violence.
    Yesterday, I received an email from one of the many lists that come to my inbox with George Floyd’s last words; words of fear and desperation; words that are more real then anything I’ve tried to verbalize. Immediately I picked up my banjo and and began to sing. Here’s what came out.
    If this is in any way inappropriate for me to sing, please accept my apologies.
    With love and caring,
    Jai

  • ???????????? ???????????????????????????????????? ????????????????????????: ???????????????? ???????????? ???????????????????????????? ???????? ???????????????????? ????????????????????????

    55:47

    ???????????????? ???????????? ???????????????????????????? ???????? ???????????????????? ???????????????????????? 2012
    ???????????????? ???????????????? ???????????????? ℜ????????????????????????/???????????????????????????? ???????????????? ????????????????????



    I. ???????????????????????? ???????? ????????????????
    II. ???????????????????????????? ???????? ???????????? ???????????? 05:36
    III. ????????????-???????????????? 25:48
    IV. ???????????????????????? ???????????? ???????????????????????? ???????????????????????? 38:13

    ☩ ☩ ☩

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    ℜ???????????? ???????????????? ???????????????????????? ???????????????????? ???????????? ???????????????????????????????? ????????????

    ℑ'???? ???????????????????? ???????????????????? ???????????????????????? ℑ'???? ???????????????????????????? ????????????????
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    ☩ ☩ ☩

    ???????????????????????????? ???????? ???????????? ????????????

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    ???????????? ???????? ???????????? ???????????????? ????????

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    ♰ ♰ ♰

    **ꜱʜᴏᴜʟᴅ ᴄᴏᴘʏʀɪɢʜᴛ ʜᴏʟᴅᴇʀ ɴᴏᴛ ᴡᴀɴᴛ ꜰᴀɴ ᴘʀᴏᴍᴏᴛɪᴏɴ, ᴘʟᴇᴀꜱᴇ ᴅʀᴏᴘ ᴀ ʟɪɴᴇ ᴀɴᴅ ᴍᴀᴛᴇʀɪᴀʟ ꜱʜᴀʟʟ ʙᴇ ᴅᴇʟᴇᴛᴇᴅ. ᴛʜɪꜱ ɪꜱ ᴀ ɴᴏɴ-ᴍᴏɴᴇᴛɪᴢᴇᴅ ᴄʜᴀɴɴᴇʟ ꜱᴏ ɪ'ᴍ ɴᴏᴛ ᴍᴀᴋɪɴɢ ᴍᴏɴᴇʏ ꜰʀᴏᴍ ᴜᴘʟᴏᴀᴅᴇᴅ ᴍᴀᴛᴇʀɪᴀʟꜱ. ᴛʜᴀɴᴋꜱ**

  • Gioachino Rossini - Les peches de vieillesse - I piu bei fior comprate

    3:37

    P.S. I'm using a portion of Quirino Principe's excellent essay on this period for this description, as the author wonderfully sums up all that is to be said on Rossini's Peches.

    Rossini drew a line under his own hugely successful operatic career at the rather young age of 37, barely twenty years after he had begun his revolution in 1810 with the little La cambiale di matrimonio. After Guillaume Tell, he withdrew almost entirely from composing into his own private sphere for the remaining 39 years of his life. His silence, though, was only relative, and, in truth, was not silence at all, given that he frequently appeared in public, presenting such masterpieces as the sacred Petite messe solennelle and Stabat Mater or the March for Abdulmecid, Sultan of the Ottoman Empire (1852), which earned him the Order of Nisam-Iftihar. Most importantly, however, it was during these years of relative withdrawal from public life that Rossini created a series of little trifles. Each of the sins of old age is a miniature, something rich and strange arousing a combination of admiration and curiosity. An elegant, innocuous cynicism flows through these tiny creatures, which sometimes appear unnatural: not in order to frighten their listeners, but to entertain them.

    I'm sorry to say that I have no true collection of these little pieces (though I am planning on starting one as soon as possible), right now their presence is limited to a few incidental pieces, including the present one, La fioraia florentina or The flower girl of Florence. It is a very lightweight, refreshingly charming and musically simple piece (some may say slight, though this would be missing the point of the arietta). The narrative, as in most of the sins, seems rather unusual, especially in comparison with full-blown stories that are formed, for example, from Schubert's songs. The arietta, set in ABA form, present us with a flower girl, trying to sell her stock to a new customer, begins and, ironically, ends in the same unassumingly gentle allegretto which is contrasted with a central, more tragic section (in the beginning, still holding to the A section's lighter accompaniment but then moving to an even more grim melody), as the girl accounts to her listener that her poor mother is dying and wants only bread and not gold from her daughter. The meaning of this dark inclusion seems twofold: we can both assume that the girl is relating the events as they are, thus, the return to the A section becomes rather tragic, as the girl continues to sell flowers in hopes of saving her mother; or that the girl is flirting with a prospective buyer, thus the B section becomes a fancy of a coquette, rather than the possible little drama. At any rate, a lovely song of mysterious meaning, as most of the sins are.

    The piece is sung here by Joan Sutherland in 1957, when her voice was at its' freshest. Moreover, the performance seems to have been recorded, while Sutherland was training with her husband, providing a quite intimate setting for the piece. Hope you'll enjoy :).

  • 4everfreebrony - Not Much to Miss

    3:58

    You can download my new album Unrequited here!

    Oh, and all those older songs are remastered versions!



    Also, check out my Patreon if you'd like to support me!

    --------------------------------

    Never really written a lot of love songs, to be honest, so break-up songs are even more rare for me. This one is probably the most Taylor Swift-y song I've ever written. Hope you like it!

    Also, check out EileMonty's channel! She's awesome!



    --------------------------------

    That fabulous piece of art was done by DragonwolfRooke!



    --------------------------------

    Lyrics:

    (v1)
    Would you say it now?
    Wouldn't you stil say yes if I asked nicely enough?
    Or would you go and just make the same mistake?
    I tried listening, but all I got were excuses and a silence from you
    I hope you know you won't get another take
    Why'd you bother coming back if you knew I'd say

    (chorus 1)
    I don't need you now
    Don't even think about it
    You couldn't get me back if you tried
    Don't give me that
    Already had your chance
    No reason to wonder why
    Once upon a time, I was in love with a boy who didn't miss me enough
    I guess I'm not much to miss

    (v2)
    What did you expect?
    What'd you hope to find when you went off and changed your mind
    Though I know you won't tell me anyway
    If you look around, you can clearly see that hearts are no to be toyed with
    And that's why they call it playing games
    Thought you got an extra life, but it's game over

    (chorus 2)
    I don't need you now
    Don't even think about it
    You couldn't get me back if you tried
    Don't give me that
    Already had your chance
    No reason to wonder why
    Once upon a time, I was in love with a boy who didn't miss me enough
    I guess you're not missing much
    I guess I'm not much to miss

    (bridge)
    She's a lucky find, I hope you treat her right
    Maybe with some time you'll forget me

    (repeat chorus 2)

  • Seeing Barre Chords on the Baritone Ukulele

    17:03

    Although barre chords are tough at first, they're worth it because these movable chords literally OPEN UP your fretboard! See how on the baritone ukulele with the new Fretboard Toolbox Essential Baritone Ukulele 2nd Edition. We'll look at Major , 7 (dominant 7), minor and minor 7 chords all over the neck. :-)

    Click LOOK INSIDE! here to download the free pages for the Essential Baritone Ukulele 2nd Edition:

    If you find it useful, please like and share!

    Happy playing,
    Scott

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