For the first time, the Genetic Fingerprint (GF) is translated into a
musical fingerprint characteristic of an individual by extracting the DNA of
a group of volunteers within the scientific - medical - microbiological
field.
And for the first time this GF is coupled with a melody in harmony with it,
which reflects the unique meeting point between the individual (fingerprint
and musical preference or music a la carte) and the composer (tecnique and
inspiration).

In the making of each musical track the following has been taking into consideration:
1. - Each genetic key corresponds to the same musical key selected for each one of the tracks (eg. A=la, g=sol, t=re, c=do); the GF presents a single pattern in linear sequences or two different sound patterns in overlapping sequences.
2. - The GF in all cases has been the musical basis in the form of rythm of keys that make the DNA sound ocasionally as a piano, harp, oboe or other instruments. In the two classical tracks, we have tried to adapt the GF to the style of the work composition, while respecting the structure and creative profile of the authors.
3. - The personal musical preferences of the individual have been given prioriy, in such a way that this project could be called as "music a la carte" from the GF of a given individual. We have reflected the musical personality of the individual using data known about him/her.
4. - Typically, at the beginning or end of each musical track we have reflected the individual's genetic character XX or XY, by translating it to two identical or different chords, respectively.
5. - The time of each track or score has always been maintained at the regular cardiac frequence (60-120).

GENOMA MUSIC-2

Track1. -Hacia el Paraíso (“To Paradise”) 2:37
Medieval instruments (Zanfona) as bass, and ethnic instruments intertwine. GF, with overlapping sequences (short sequence as Asian string instrument, over longer sequence with tekno synthetizer). The result resembles celtic music.
Track 2 - Acercando sentimientos (“Joining feelings”) 4:04
Piano and cello, favorite instruments of the owner of this GF, define the feelings of happiness and sadness. The GF with overlapping sequences forms part of the base orchestral movement, as percussion sound.

Track 3. - Lima en el corazón (“Lima in the heart”) 2:35
The GF with overlapping percussion sequences sets the rythm and the geographic origins of the owner of this GF create this sea tune.
Track 4. - Invention nº8 in FaM 1:34
Assembly of the creative capacity of the human mind with the prime example of musical creation, Johann Sebastian Bach.
Track 5. - Al desnudo (“Naked”) 5:18
Naked GF, linear sequence, no compass, with a certain anarchy, highlighting the pianist's interpretation giving life to the DNA.
Track 6. - La magia del pensamiento (“The magic of thought”) 3:24
The GF of our main character here lays underneath the orchestral movement in the form of percussion counds, making a pause to allow for the spinet to be heard solo.
Track 7. - La canción de Maria (“Marie’s song”) 4:01
The preference for jazz of the owner of thie GF results in a track bursting with insinuations of said musical style within a mediterranean music influence. The oboe becomes the musical translation of the ADN of one of the overlapped sequences.
Track 8. - Adagio para Natalia y una gaviota. (“Adagio for Nathalie and a seagull”) 3:04
The genomic keys of this GF are translated as birds and tribal percussion sounds which intertwine in certain passages with the sound of real seagulls and water, with a relaxing effect.
Track 9. - Genoma motto perpetuum (genoma o.p. 115) 3:57
The GF is assigned to the harp, which, with its rythmic insistence gives cause to form the resulting harmonies with which to create a melody and a track in New-Age style.
Track 10. - Armonía y ciencia (“Harmony and science”) 2:42
The GF is the only material used for the creation of this track, in the form of rythm, with a very small melodic cello cell, and a New Age style. A creative caper which transports us to a different, very modern vision, of a combination of harmonies between music and science.
Track 11. - Semillas de viento (“Seeds of wind”) 3:05
The owner's GF has a bolero rythm, per his preferences. Melody and accords in the purest latin style.
Track 12. - La tercera quietud (“The third quietness”) 2:59
If death is the first quietness, sleep is the second one and tranquility is the third one. The music of the owner of this GF would undoubtedly be included in the last one, with the nucleotid bases being represented by sounds of Chinese flute.
Track 13. -Mov. 2º Andante del concierto en Re menor para dos mandolinas. (A. Vivaldi) (2nd. Mov.Andante of the concert in D minor for two mandolines) 3:56
The Chinese box percussion sound is the translation of the GF, highlighting even more the bass sound and blending with the track.
Track 14.- Té con palabras (“Tea with words”) 2:34
The musical preferences of our main character here, his preference for singer-songwriters, make us stress words in the form of melodies. The GF is included in a Bossa rythm, wrapped up in instruments such as shaker, cabasa and harpsichord which give body to the track.

1,5,12 (authors): A. Sánchez Sousa and O. Caballero
4, 13 (adaptation and arrangements): O. Caballero and A. Sánchez Sousa
2,3,6,8,9,11,14 (authors): A. Sánchez Sousa and J.M. Chova
7 (authors): A. Sánchez Sousa and S. Niebla
10 (authors): A. Sánchez Sousa and Bob Benozzo