Track 1546/44Karma 10 (60)

Calm positive piano chords

Paul Mottram (PRS) From the album Piano Trio, Light Drama

One main track with multiple mixes. Download all 14 mixes of this track.

Karma1546/4
Paul Mottram (PRS)
14 mixesMellow violin over warm rippling bed of piano, cello pizzicato effects & harp

3:3280 BPM
Karma 21546/36
Paul Mottram (PRS)
14 mixesWarm rippling piano, cello pizzicato & harp. Underscore, no lead violin

3:3280 BPM
Karma 31546/37
Paul Mottram (PRS)
14 mixesBeautiful sustained lyrical violin over static piano chords. Very still

3:2780 BPM
Karma 41546/38
Paul Mottram (PRS)
14 mixesBeautiful sustained lyrical solo violin

3:0780 BPM
Karma 51546/39
Paul Mottram (PRS)
14 mixesBeautiful sustained lyrical solo violin with harp & marimba

1:2980 BPM
Karma 61546/40
Paul Mottram (PRS)
14 mixesGlittering magical harp & marimba

1:2780 BPM
Karma 7 (60)1546/41
Paul Mottram (PRS)
14 mixesMellow violin over warm rippling bed of piano, cello pizzicato effects & harp

1:0080 BPM
Karma 8 (60)1546/42
Paul Mottram (PRS)
14 mixesWarm piano, cello pizzicato effects & harp. Underscore, no lead violin

1:0080 BPM
Karma 9 (60)1546/43
Paul Mottram (PRS)
14 mixesWarm rippling bed of piano, cello pizzicato effects - no violin or harp

1:0080 BPM
Karma 10 (60)1546/44
Paul Mottram (PRS)
14 mixesCalm positive piano chords

1:0080 BPM
Karma 11 (30)1546/45
Paul Mottram (PRS)
14 mixesMellow lyrical violin over warm rippling bed of piano, cello pizzicato effects & harp

0:3080 BPM
Karma 12 (30)1546/46
Paul Mottram (PRS)
14 mixesWarm rippling bed of piano, cello pizzicato effects & harp. Underscore, no lead violin

0:3080 BPM
Karma 13 (Sting)1546/47
Paul Mottram (PRS)
14 mixesViolin sting with cello & delayed harp effect

0:1480 BPM
Karma 14 (Sting)1546/48
Paul Mottram (PRS)
14 mixesWarm piano, cello & harp sting

0:1480 BPM

Key: F
Metre: 4/4
Tempo: 80 BPM
Tempo notes: Slow
Factoid: If a violinist is placed into an MRI machine, it can be seen that a much larger area of the brain - the right primary motor cortex - is devoted to his or her left fingers when compared with a non-violinist. Two or three times as large, in fact. Violinists also have more connections between the two sides of the brain which account for the better co-ordination they have between each hand compared with a non-violin player.