Liquicity saga #7. One week till blast off, let me know if youl be coming! Ive had a lot of fun putting this together. These tracks will form the memory of this summer! Enjoy =).

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The Liquid Familyhood
Pt. 1) Voyage // youtu.be/zN_3XfWyYwI
Pt. 2) Particles // youtu.be/GwibF4v35gw
Pt. 3) Tides // youtu.be/cepep5Gs3J4
Pt. 4) Guerilla // youtu.be/TnkDPmC3kEc
Pt. 5) Afterglow // youtu.be/6KRCXM0Gq5o
Pt. 6) Euphony // youtu.be/wI06tJo91gg
Pt. 7) Trails
Pt. 8) Poetry // youtu.be/Re9I37dyor0
Pt. 9) Polarity // youtu.be/bO0_6xQ66UU
Pt. 10) Legacies // youtu.be/kfjy-AgC1vg
Pt. 11) Bonfire // youtu.be/Ofz-ZiNyj8U
Pt. 12) Contrast // youtu.be/Evn0GZDyvWo
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Tracklist:
[00:00] 01. Voicians — Wasteland
[02:13] 02. Feint — Laurence VIP
[03:18] 03. Rollz ft. Katies Ambition — Burn Up
[05:07] 04. Livewire — Fading Light
[07:30] 05. Elliot M — Revive
[09:30] 06. Traktion — Moonlight Symphony
[11:42] 07. Matrix

ytimg.preload(https://r13---sn-axq7sn7e.googlevideo.com/generate_204);ytimg.preload(https://r13---sn-axq7sn7e.googlevideo.com/generate_204?conn2);Carbon Based Lifeforms 5 hours mix ambient chillout electronic YouTube — YouTube<link rel=«alternate» type=«application/json oembed» href=«www.youtube.com/oembed?format=json

Make every day a Sunday with another hour of chilled indie music and laidback folk tracks.
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Tracklist:
0:00 Emily Coulston — ‘Moon’
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3:22 Jesse Taylor — ‘Run Run Runaway’
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5:48 Ed Patrick — So Glad (I Got You)’
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8:41 Dave Thomas Junior — ‘Making Mistakes

**All song titles, times, and musician names are listed under the Show More tab **

0:00-Jenny Kern-«Now We Know»open.spotify.com/track/3Rd5n7jgmCKKtjZ7dYquP0?si=Xnubi2shQtCfsna-dlXOig
3:18-Tiz McNamara-«Days Like These»open.spotify.com/track/220kSSv5KXvfvFEKbpng4v?si=N0FL99MDTDGi0ReDYxcF6w
6:46-Stables-«Worry»open.spotify.com/track/7GjOPqfLMFYIEw44OoYd4z?si=4eVw75XmSE2nKHmWI6q9nQ
10:10-Silver Trees-«She»open.spotify.com/track/3OwXfPOeDOfEsImlzw3ph1?si=r3vCjbYFSfeXPN6ras2gZA
14:12-Jessie Reid-«Ive Got You»open.spotify.com/track/17JJ2RLnkQhfHiBg2wfeb2?si=wOjYOSYiSnqEWk2XY4mwYg
16:48-Emma Frank-«Before You Go Away»open.spotify.com/track/6b5p4fpkV3KMQ8oqwst0EV?si=RTmY6LjQQG-0dDlO5rZGHg
20:26-Sheldon Hunt-«Here to Stay»open.spotify.com/track/5tWKH7QfbuTs5F1O2guj1j?si=dYsdzAlQRI6voY_PKWAnXQ
24:48-Joe Purdy-«Wash Away»open.spotify.com/track/55upYqhkvRDTzArE3OjkIu?si=wO9Ab7AfS2KR_rXhM-F3ughttps://open.spotify.com/track/2uC3YQtTYZojHfwAFrvCHC?si=BhqtMhksSc-PJst5VwW0Iw
27:49-Sean Waters

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-Spotify Version: open.spotify.com/playlist/0jkm36xJddRsO0svtaxXHO?si=OpRBFr_3S5C_yQO4IfTe2A

0:00-Eric Brandon-«The Devil I Know»open.spotify.com/track/729XTXobYoLYfOnfaWbqng?si=d8d_LoqNTHqeY5Hr6qgq2Q
4:22-Marti West-«Snow»open.spotify.com/track/1RaX1PYXVAIlvoJzt3OqkT?si=Co_tn8T_RJm5pdGmXG6XmA
8:39-Adam Youngman

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My selection of TOP ten best nocturnes from Polish composer (with French-Polish parentage), virtuoso pianist and music teacher Frederic Chopin. All ten little piano masterpieces were tuned to 432 Hz… Enjoy!:-)

The full playlist of nocturnes is following:
1. Nocturne in B flat minor, Op. 9 no. 1 — 0:00
2. Nocturne in E flat major, Op. 9 no. 2 — 5:45
3. Nocturne in F-sharp major, Op. 15, no. 2 — 10:44
4. Nocturne in D flat major, Op. 27 no. 2 — 14:46
5. Nocturne in E flat major, Op. 55 no. 2 — 21:03
6. Nocturne in E major, Op. 62 no. 2 — 26:59
7. Nocturne in E minor, Op. posth. 72 — 35:12
8. Nocturne in C sharp minor Lento con gran espressione, B. 49 (Op. posth.) — 39:12
9. Nocturne in C minor, B. 108 — 43:09
10. Nocturne Oubliée in C sharp minor — 46:23

All music used in this video is opensource and is originally from musopen.org/music. I just made this selection and tuned it to 432 Hz for everybody, who feels it differently as I do.

Please enjoy this great peace of art and let me know, if there is any classical music you want me to edit for you. Ill do my best! :-)

Easily one of the best Chopin recordings ever made.
[Highlights/comments below]

00:00 — Ballade Op.23 No.1 in G minor
09:36 — Ballade Op.38 No.2 in F (A minor)
17:28 — Ballade Op.47 No.3 in A-flat
24:57 — Ballade Op.52 No.4 in F minor

A milestone in the Romantic piano literature, and a stupendous recording of it. The number of great moments in this is probably too great to count (06:48, 08:03, 15:52, 18:40, 24:23, with many more in between, and the entire 4th Ballade is a single unbroken wonder from its miraculous beginning onward — although see the famous passage at 28:36, and the numinous 34:18).

Chopin is — popularly, but not critically — seen primarily as a great melodist, which reputation does him a great disservice. In the Ballades Chopin does something which Beethoven reserved for his sonatas (and which Chopin never did in his), which was to introduce daring and very effective structural modifications to Sonata form. One obvious example of such a novelty is the «mirror reprise», where the two expositional themes appear in reverse order during the recapitulation.

There are many moments of harmonic/stuctural interest in the Ballades, and some of them have become quite famous. I cant possibly go through everything, so Ill try to flag some things out.

— The unusual extended Neapolitan Sixth that opens Op.23.
— The D in m.7 of the Op.23 — it is a subject of considerable debate if this is a harmonic necessity, setting up a late resolution, or an implied pedal point
— Constant metrical changes in Op.23.
— The unusual key relationship between the two main themes of Op.38.
— The abrupt end of the post-recapitulation development section (in itself odd) of Op.38.
— The structural role of the opening gesture of the Op.47. It very clearly recurs near the end, but on cursory examination occurs nowhere else in the piece. (It is not actually difficult, with a bit of thought, to figure out how the opening bars feed into the rest of the piece.)
— The use of dissonances, some passing and some sustained, as an architectural device in op.38.
— The rather surprising combination of variation/sonata form in Op.52 (something Liszt did more conspicuously in his B Minor Sonata.)
— The use of counterpoint as dramatic device in Op.52 at numerous points.
— The rather Beethovenian expected-but-not-actually-there ending in Op.52.
— Chromaticism in the coda of the Op.52 so intense the section aurally drifts somewhere close to atonality.