Track 1546/46Karma 12 (30)

Warm rippling bed of piano, cello pizzicato effects & harp. Underscore, no lead violin

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

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.