This blog is still in the process of writing.
It is initially ONLINE NOTES ON LEARNING MUSIC , AND COMPOSITION AND IMPROVISATION WITH GUITAR AND OTHER STRING AND WIND INSTRUMENTS
Here is one of the books I'm writing in the last two years about the guitar, and musical synthesis / improvisation and it is completed by almost 90%.
I wrote it in the first place so as to help myself remembering playing the guitar that I abandoned for the last 25 years and to improve it beyond what ever I knew on it , in the direction of improvisation and musical composition.
But it is also written so as to find a way though music to have peace of mind and a lift-up of the personal and collective frequency.
The context of the goal of writing this book and making the necessary research and learning for it, is so as to be able as individual and collective as civilization of deeper and better methods of expressing by sound with also something more than our voice, (winds, strings, etc) also creating music, that elevates the quality and health of physical life, of emotional life, and of intellectual perceptions as well. Or to put it in fewer words, to allow for better soul-consciousness evolution. For this goal we must understand which melodic patterns, which parts of different music traditions and which new necessary innovations in harmony in musical composition and in social practice in musical instruments playing, will lead to this. Sound is action and as any action it attracts energy. Therefore it is important to discover which harmonies and melodies will attract positive energies for our lives. Of course the health of our body and soul can be traced by ultra-high non-audible sound frequencies . But a musical instrument's non-audible ultra-high frequencies might resonate also with lower audible musical frequencies.
Here is a poem by me about the role of ultra-high frequency sound of higher frequencies realities in the creation of the physical reality
But it is also written so as to find a way though music to have peace of mind and a lift-up of the personal and collective frequency.
The context of the goal of writing this book and making the necessary research and learning for it, is so as to be able as individual and collective as civilization of deeper and better methods of expressing by sound with also something more than our voice, (winds, strings, etc) also creating music, that elevates the quality and health of physical life, of emotional life, and of intellectual perceptions as well. Or to put it in fewer words, to allow for better soul-consciousness evolution. For this goal we must understand which melodic patterns, which parts of different music traditions and which new necessary innovations in harmony in musical composition and in social practice in musical instruments playing, will lead to this. Sound is action and as any action it attracts energy. Therefore it is important to discover which harmonies and melodies will attract positive energies for our lives. Of course the health of our body and soul can be traced by ultra-high non-audible sound frequencies . But a musical instrument's non-audible ultra-high frequencies might resonate also with lower audible musical frequencies.
Here is a poem by me about the role of ultra-high frequency sound of higher frequencies realities in the creation of the physical reality
The roots of matter
At the beginning there was sound
and the sound came from the black stars
At the beginning there was sound
and the sound was towards the worlds
At the begging there was sound
and the sound was not
of the visible matter
At the begging there was sound
and the sound created the atoms
of the visible matter
At the beginning
there was the sound of my song
for not all that matters is matter.
But also with the aim of learning old and discovering new ways to turn negative emotions into positively emotions with music (sadness, anxiety in joy, enthusiasm , etc.). And also for summing up of all those techniques that make the playing of the guitar easier and smarter.
The previous are instances of principles of laerning how to learn.
When learning a musical instruments five areas of the human subjectivity are involved
1) The sense of hearing
2) The sense of seing
3) The kineasthetics of the fingers (fingering) and/or the mouth (embouchure)
4) The feelings and emotinal percepton of the music
5) The mental images and intellectual perception of the music (musical ontology)
So when we say radically different method we mean that the combination of the previous 5 factors is radically different
Creating 3D mental images with the imagination
The physiscists andd nobel prize winner R Feynamnn often was explaining that he was training his imagination imagining in 3D mental images the moving molecules of a gas in box, and perceiving that temperature as their avearge velocity, the ressure as the average moemntum of the walls of the box, and the density as the average number of particles per unit of volume, He was explaing that he was getting much pleasure from this spiritual excerise of creating 3D mental images and simulating the reality. Excatly this 3D VISUAL MENTAL IMAGES LANGUAGE parctice is UTILIZED BY ME IN COMPOSING, AND IMPROVISING MUSIC.
The next are 5 principles that are involved in learning many musical instruments
1) Principle of least time of playing while learning
2) Principle of most easy method as far as the memory and spending energy in practice of fingers/mouth is concerned
3) Principle of most smart intellectually perception of the learning material desired to learn with the maximum number of relevant cross-correlations beteen them.
4) Principle of maximum pleasure while learning (so that serotonin and dopamine arecreated in the nervous system so as t have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)
5) Principle of optimal socialization of the process of learning.
The previous are instances of principles of laerning how to learn.
LEARNING HOW TO LEARN DURING ALL OF OUR LIVES IS MORE IMPORTANT THAN ANY SINGLE SPECIALIZED LEARNING OUTCOME.
IN LEARNING HOW TO LEARN THE NEXT 8 PRINCIPLES ARE INVOLVED.
1) The principle that the result of learning will contribute to the evolution of our imortal soul consiousness and society. Aany formof learningis also creation of new self.
2) The Principle of least time and energy for learning but also the freedhom of time to experiment in an original and discovering way.
3) The Principle of most easy method as far as the memory and spending energy in practice is concerned
4) The Principle of most simplest , smart and abstract intellectual perception and organization of the thought of the learning material that is desired to learn with the maximum number of relevant cross-correlations beteen them and other disciples and sciences or arts.
5) The principle of maximum utilization of the traditional or innovative collective intelligence and experience ofthe civilization about the learning area.
6) The principle of maximum utilization of thelearned material so far.
7) The Principle of emotions and maximum pleasure while learning (so that serotonin and dopamine are created in the nervous system so as to have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)
8) The principle of not learning in an order and method that the reduces self-esteem but in the contrary utilzing an order and method with organized thinking and action so that in enhances self-esteem while gradually achieving results and approaching the goal with ecellence , so that it is also a permanent way of happiness.
9) Principle of optimal socialization with honoring and appraisal of the process and results of learning so that learning is also an increased social honor.
10) The awarenress of the 80/20 rule in learning: More than 80% of the learning outcome is discovered and obtained from less than 20% of the learned material or learning time
Under the above principles it is derived that for a musician that is playing many musical instruments it holds that
(see also post 275, 128)
1) It has some points in it that do not exist anywhere on the Internet and in books such as the DAE system for chords on all the fret-board (see post 3, much simpler and smarter than the CAGE system, and especially for 4-strings instruments such as Greek bouzouki, yukalili, cuatro etc.)
2) The system of composition of melodies from the elementary and basic melodic themes and their three basic relations (post 64),
3) or the constant correspondence of melodic themes and chords with emotions. (See post 33)
4) Or e.g. the harmonic analysis of the chords of a musical piece, based on the three universal relational relations of chords (resolution, relatives, complementary, see post 30 )
5) It also introduces the Harmonic method of musical composition (see post 9) that begins with the composition of chord progression then composition of the simplicial submelody, (a note for every chord ) and after 2-3 melodic themes that are transposed, reversed or modifiers, and end or begin (as melodic centers) at the notes of the simplicial submelody (which method I mainly follow).
6) It also has new innovative and very short ways of music writing without a pentagram, but with the same accuracy, very fast and suitable for reading in improvised music or computer music. (See post 7)
7) But it also has new ways of octave-distance of strings in tuning of the known four-strings above musical instruments, that have been implemented in a collection of organs that I specifically made to experiment with them, with the aim of newer sounds in the playing of well-known popular instruments and well-known basic tuning. It carefully analyzes the familiar and unfamiliar tuning based on merits-advantages in melody, harmony and ease of playing with the fingers.(See post 67)
8) Still expresses the philosophy that when playing music one does not produce only sounds but also private feelings more or less independent from the musical sounds that somehow they are made make public and felt by the listeners. (see post 33)
9) It also has a very comprehensive practice of sorting and finding in a systematic mathematical way of tens and tens of different scales with different known criteria of many different nations and composers but also of some scales that are still unknown. (See posts 21, 28, 47, 50, 51, 52,54, 58)
10) The same and with the classification of tens and tens of chord progressions from the music of many different nations and famous songs. (See post 17)
10) The same and with the classification of tens and tens of chord progressions from the music of many different nations and famous songs. (See post 17)
11) The analysis and the writing of rhythms on a drumstick level (see post 10 )
12) It also includes well-known but not widely used ways of finding very quickly the possible scales of a song only by the chords, on the wheel of chords by intervals of 4th, which are much simpler methods than the analysis of the melody. (see post 34)
This blog is for making the guitar learning , song composition and improvisation , easier based on more abstract mathematics of the music, the rhythm and the guitar with new musical practice. It is a new method to link mental images, with sound feelings and finger actions. The true goal of composition and improvisation is not the musical output but the existential process of creating and listening it.
In modern times the abstract though is developing fast. For example that astonishing achievements of great chess players like G. Kasparov, Magnus Carlsen etc is because the have shifted to more abstract thinking. Instead of positional playing, tactical and and strategic playing. Similar phenomena occur in other arts and sciences, including mathematcs of course. Music theory should be upgraded too with more abstract thinking.
We must remind here the fundamental philosophy of musical composition and improvisation.
Musical improvisation is not a technical skill that one “learns to do with the fingers.” It is a natural inner spontaneous process that occurs in the imagination. It is often a natural language of the soul, as we have the language of words. And that is why it is understood by people that do not even speak the same language of words
The main goal of musical composition and improvisation is not the output musical piece, but the EXISTENTIAL FUNCTION of the process of creating and listening the musical piece.
Here is an example of mediative improvisation by Estas Tonne
https://www.youtube.com/watch?v=7gphiFVVtUI
WHAT IS IMPORTANT TO UNDERSTAND IN ALL OF THE MUSICAL PRACTICE IS THAT WE ARE TO CONCENTRATE NOT SO MUCH ON THE ACTION OF THE FINGERS OR THE MENTAL IDENTITY OF THE MUSIC AS ON THE FEELING OF THE SOUND. NEVERTHELESS ALL THE THREE COMPONENTS SHOULD BE AVAILABLE: THE MENTAL IDENTITY OF THE MUSIC, THE FEELING OF THE SOUND AND THE ACTION OF THE FINGERS.
THE BLOG, AMONG OTHER GOALS, IS DEDICATED ALSO IN TO CREATING SIMPLER MENTAL IMAGES OF THE MUSIC, WHILE PLAYING AND IMPROVISING, SO THAT THE ACTION OF THE HANDS AND FINGERS FLOWS WITHOUT DIFFICULTY
Here is an example of mediative improvisation by Estas Tonne
https://www.youtube.com/watch?v=7gphiFVVtUI
WHAT IS IMPORTANT TO UNDERSTAND IN ALL OF THE MUSICAL PRACTICE IS THAT WE ARE TO CONCENTRATE NOT SO MUCH ON THE ACTION OF THE FINGERS OR THE MENTAL IDENTITY OF THE MUSIC AS ON THE FEELING OF THE SOUND. NEVERTHELESS ALL THE THREE COMPONENTS SHOULD BE AVAILABLE: THE MENTAL IDENTITY OF THE MUSIC, THE FEELING OF THE SOUND AND THE ACTION OF THE FINGERS.
THE BLOG, AMONG OTHER GOALS, IS DEDICATED ALSO IN TO CREATING SIMPLER MENTAL IMAGES OF THE MUSIC, WHILE PLAYING AND IMPROVISING, SO THAT THE ACTION OF THE HANDS AND FINGERS FLOWS WITHOUT DIFFICULTY
Of course by concentrating in the feelings when we improvise, we give priority to what we have heard from music and has been stored in the subconscious emotional memory. That is why having available the mental imagination identity of the music (as chords, , chord relations, harmony of intervals, regular recursive sequences of notes, invariants etc) allows to innovate possibly to more happy feeling music.
Some times the feeling of the sound only, and the look of the fingers and fretboard may not be adequate to find the desired playing because of lack of excessive practice. And here comes the mental imagination to help. As the more abstract mathematical perception and identity of the desired music is simpler than the complications of the fingers and the guitar fretboard, it is simpler and faster path, to discover the desired musical sound.
The basic triangle functioning here is the next
1) Feelings identity of the music (poetical symbol Waters)
2) Mental identity of the music (poetical symbol Air)
3) Instrumental-fingers identity of the music
(poetical symbol Material Solidity)
1)-3) is mainly practical improvisation
2) -1) is mainly composition
2)-3) is mainly acquiring skills on the instrument.
We must remark here that the 2), the mental musical theoretical or harmonic identity of the music should be simpler than the 3) the instrumental-fingers identity of the music.The improvisation should be 60%-80% due to feelings 15%-30% due to simple mental images about the music and 5%-10% only due to hands skills!
Each vertice of the triangle can act as catalyst in helping for a friction-less flow of relation of the other two vertices but can also if it is not the appropriate it may block the relationship of the other two. This blogs with more abstract mathematical perceptions that are in 1) may help for a better relation between 2) and 3).
Classical jazz practitioners give emphasis to 3) , but sometimes lose 2). To find again a better 2) maybe a better 1) is needed. Classical musicians give emphasis to 1), but often miss the 2). To find a better relation between 1) and 2) free improvisational practice is needed, which is a better 3). And so one.
At a more detaimed approach there are 5 nervous sytem centers that are involved when playing music
MENTAL
1) THE MENTAL IMAGES OFTHE ONTOLOGY OF MUSIC (NOTES, SCALES, INTERVALS, CHORDS, ETC)
PHYSICAL
2) THE SOUNDS OF THE EAR IN THE SENSE OF LISTENING
3) THE IMAGES OF THE EYE IN THE SENSE OF SEING (E.G. OBSERVING THE FINGERS ON THE MUSICALINSTRUMENT OR THE MOVES OF DANCER)
4) THE KINESTHETIC CENTER OF THE ACTIONS OF THE FINGERS ON THE INSTRUMENT AND THE BREATH IN THE CASE OF WIND INSTRUMENTS
EMOTIONAL:
5) THE FEELINGS CREATED BY THE LISTENED MUSICAL SOUND IN REALTION ALSO TO MEMORIES AND LISTENING HABITS.
Learning the same song on many instruments, would mean that 3) images and 4) action of the fingers will change from instrument to instrument, but the triad
1) Mental musical ontology 2) Sounds of the ear ontology 5) Feelings remain the almost the same!
The basic idea of the COMPOSITION-IMPROVISATION method in this blog is to create the music from the SIMPLE AND ABSTRACT towards the MORE COMPLEX AND CONCRETE . Quite similarly as we write a book , starting from a design of the contents and outline of the plot.
Here the simple, is first the rhythm, then the chords progression, then the simplicial melody, then the full melodic patterns and finally the words (that may not exist too).
IN MY APPROACH IN THIS BOOK I FAVOR MIXTURE OF AN IN ADVANCED COMPOSED MUSIC PIECE AND A LATER IMPROVISATION OVER IT RATHER THAN A 100% PRIMA-VISTA IMPROVISATION. THE REASON IS OBVIOUS. THERE ARE ADVANTAGES OF MUSICAL COMPOSITION THAT WILL TAKE MORE TIME THAN THE DURATION OF THE MUSICAL PIECE OVER A DIRECT IMPROVISATIONAL CREATION OF IT AS WE LISTEN TO IT. THE FORMER GIVES US THE OPPORTUNITY OF A BETTER QUALITY MUSICAL CREATION AND A BETTER BALANCE OF THE PREVIOUS TRIANGLE OF MUSICAL MENTAL IMAGES, SOUND FEELINGS AND FINGER ACTIONS.
We must emphasize a basic philosophy here that when playing the musical instrument, we do not only produce musical sounds but also independently emotions in us. And I do not mean that the musical sounds produce the emotions I mean that our self is producing the emotions parallel and in fitness with the musical sounds
The various improvisations practices may have one of the more visible dimensions of knowing better , the next 4 factors , by relating them to the feelings.
So in learning improvisation, this is I believe the simplest and easiest way, in 3 steps
1) Practice at first chord-progressions improvisations. At this stage, the complexity is only the number of chords in the chord progression , their shapes , positions, repetitions etc. Mainly we start with a predetermined chord progression and we play all possible different positions of the chord, and maybe also alternative permutaions of the chords of the chord progression, keeping of course the basic harmonic structure invariant as this is that tells the main emotional story of the song. We utilize chord-harping or finger-picking with possible small melodic embellishments, with a free finger of the left hand or freeing a finger from the left hand, and around the chord shape. I consider that using the 5 fingers of the right hand, by far a supperior and more subtle way to control the musical sound, than using a single plastic pick. With the finger nails it is as if we have 4 picks!
2) Then practice melody improvisation, while a chord-progression is played by another musician or the computer. Here we may apply the ways to distribute a melody among the strings as in the post 43.
3) Finally practice chord-melody improvisation, that is played only by you. This would be chord-harping simultaneous with the solo, or alternating , only chord-harping (finger-picking) and then isolated melody playing or it would be genuine chord-melody with one composite chord for each note of the solo.
THE CORRESPONDENCE OF EMOTIONS LIKE SADNESS , JOE, ANXIETY, SERENITY ETC WITH HARMONIC AND MELODIC STRUCTURES INTRODUCED IN THIS BOOK IS NOT A UNIVERSAL NECESSITY, IT IS RATHER OF A STATISTICAL MORE PROBABLE EMERGENCE. FROM THIS POINT OF VIEW THE DEGREES OF FREEDOM OF THE HUMAN SUBJECTIVE EXPERIENCE MAY ELIMINATE SUCH CORRESPONDENCES.
(e.g. in Eastern cultural traditions melodies where the distances of successive notes are less than a tone or less than a semitone, do not arise necessarily the emotion of anxiety which is claimed in this book , but also besides anxiety and sadness also neutral sensitivity!)
THE BASIC CONCEPT OF MUSICALLY BEAUTIFUL IN THIS BOOK IS THE CONCEPT OF HIDDEN SIMPLICITY OF RULES OF PROPORTIONS OF 2 AND 3 , AND IN GENERAL OF VERY SMALL INTEGER NUMBERS IN FREQUENCIES, (HARMONY) MELODIC MORPHOLOGY (VOICES) OF NOTE IN (2/3) AND OUT (1/3) OF THE CHORDS, RHYTHM (ORDER AND DIMENSION OF RHYTHMS), PERCENTAGE (2/3) OF MAJOR AND PERCENTAGE (1/3) OF MINOR CHORDS ETC.
(This percentage of 2/3 major chords and 1/3 minor chords is of course a statistical average not applying for single case songs)
ANOTHER SIGNIFICANT REASON THAT I STARTED WRITING THIS BLOG IS BECAUSE I WANTED TO COMPOSE SONGS THAT CAN CONVERT SADNESS TO JOY WITHIN THE SONG. I WANTED TO LEARN HOW THIS IS DONE IN ETHNIC MUSIC, IN JAZZ, IN CLASSICAL MUSIC AND ALSO DISCOVER MYSELF NEW SUCH TECHNIQUES .
The basic triangle functioning here is the next
1) Feelings identity of the music (poetical symbol Waters)
2) Mental identity of the music (poetical symbol Air)
3) Instrumental-fingers identity of the music
(poetical symbol Material Solidity)
1)-3) is mainly practical improvisation
2) -1) is mainly composition
2)-3) is mainly acquiring skills on the instrument.
We must remark here that the 2), the mental musical theoretical or harmonic identity of the music should be simpler than the 3) the instrumental-fingers identity of the music.The improvisation should be 60%-80% due to feelings 15%-30% due to simple mental images about the music and 5%-10% only due to hands skills!
Each vertice of the triangle can act as catalyst in helping for a friction-less flow of relation of the other two vertices but can also if it is not the appropriate it may block the relationship of the other two. This blogs with more abstract mathematical perceptions that are in 1) may help for a better relation between 2) and 3).
Classical jazz practitioners give emphasis to 3) , but sometimes lose 2). To find again a better 2) maybe a better 1) is needed. Classical musicians give emphasis to 1), but often miss the 2). To find a better relation between 1) and 2) free improvisational practice is needed, which is a better 3). And so one.
At a more detaimed approach there are 5 nervous sytem centers that are involved when playing music
MENTAL
1) THE MENTAL IMAGES OFTHE ONTOLOGY OF MUSIC (NOTES, SCALES, INTERVALS, CHORDS, ETC)
PHYSICAL
2) THE SOUNDS OF THE EAR IN THE SENSE OF LISTENING
3) THE IMAGES OF THE EYE IN THE SENSE OF SEING (E.G. OBSERVING THE FINGERS ON THE MUSICALINSTRUMENT OR THE MOVES OF DANCER)
4) THE KINESTHETIC CENTER OF THE ACTIONS OF THE FINGERS ON THE INSTRUMENT AND THE BREATH IN THE CASE OF WIND INSTRUMENTS
EMOTIONAL:
5) THE FEELINGS CREATED BY THE LISTENED MUSICAL SOUND IN REALTION ALSO TO MEMORIES AND LISTENING HABITS.
Learning the same song on many instruments, would mean that 3) images and 4) action of the fingers will change from instrument to instrument, but the triad
1) Mental musical ontology 2) Sounds of the ear ontology 5) Feelings remain the almost the same!
The basic idea of the COMPOSITION-IMPROVISATION method in this blog is to create the music from the SIMPLE AND ABSTRACT towards the MORE COMPLEX AND CONCRETE . Quite similarly as we write a book , starting from a design of the contents and outline of the plot.
Here the simple, is first the rhythm, then the chords progression, then the simplicial melody, then the full melodic patterns and finally the words (that may not exist too).
IN MY APPROACH IN THIS BOOK I FAVOR MIXTURE OF AN IN ADVANCED COMPOSED MUSIC PIECE AND A LATER IMPROVISATION OVER IT RATHER THAN A 100% PRIMA-VISTA IMPROVISATION. THE REASON IS OBVIOUS. THERE ARE ADVANTAGES OF MUSICAL COMPOSITION THAT WILL TAKE MORE TIME THAN THE DURATION OF THE MUSICAL PIECE OVER A DIRECT IMPROVISATIONAL CREATION OF IT AS WE LISTEN TO IT. THE FORMER GIVES US THE OPPORTUNITY OF A BETTER QUALITY MUSICAL CREATION AND A BETTER BALANCE OF THE PREVIOUS TRIANGLE OF MUSICAL MENTAL IMAGES, SOUND FEELINGS AND FINGER ACTIONS.
We must emphasize a basic philosophy here that when playing the musical instrument, we do not only produce musical sounds but also independently emotions in us. And I do not mean that the musical sounds produce the emotions I mean that our self is producing the emotions parallel and in fitness with the musical sounds
The various improvisations practices may have one of the more visible dimensions of knowing better , the next 4 factors , by relating them to the feelings.
1) The fretboard of the instrument in relation to the feelings. (Playing almost randomly on the fretboard, guided by the desired feeling of sounds)
2) The melodies in relation to the feelings. (Improvise melodies alone or with a chord progression in the background, or as chord-melodies)
3) The harmony in relation to the feelings. (Improvise with chord progressions)
4) The rhythm in relation to the feelings. (Improvise and learn celebrated or unknown rhythms)
From all the above types of improvisation the chord-improvisation is the easiest, at least one the basic functions and relations of the chords are understood. The melody improvisation with an already determined chord progression in the background, is the second easiest, and the chord-melody improvisation is the most difficult.
So in learning improvisation, this is I believe the simplest and easiest way, in 3 steps
1) Practice at first chord-progressions improvisations. At this stage, the complexity is only the number of chords in the chord progression , their shapes , positions, repetitions etc. Mainly we start with a predetermined chord progression and we play all possible different positions of the chord, and maybe also alternative permutaions of the chords of the chord progression, keeping of course the basic harmonic structure invariant as this is that tells the main emotional story of the song. We utilize chord-harping or finger-picking with possible small melodic embellishments, with a free finger of the left hand or freeing a finger from the left hand, and around the chord shape. I consider that using the 5 fingers of the right hand, by far a supperior and more subtle way to control the musical sound, than using a single plastic pick. With the finger nails it is as if we have 4 picks!
2) Then practice melody improvisation, while a chord-progression is played by another musician or the computer. Here we may apply the ways to distribute a melody among the strings as in the post 43.
3) Finally practice chord-melody improvisation, that is played only by you. This would be chord-harping simultaneous with the solo, or alternating , only chord-harping (finger-picking) and then isolated melody playing or it would be genuine chord-melody with one composite chord for each note of the solo.
THE CORRESPONDENCE OF EMOTIONS LIKE SADNESS , JOE, ANXIETY, SERENITY ETC WITH HARMONIC AND MELODIC STRUCTURES INTRODUCED IN THIS BOOK IS NOT A UNIVERSAL NECESSITY, IT IS RATHER OF A STATISTICAL MORE PROBABLE EMERGENCE. FROM THIS POINT OF VIEW THE DEGREES OF FREEDOM OF THE HUMAN SUBJECTIVE EXPERIENCE MAY ELIMINATE SUCH CORRESPONDENCES.
(e.g. in Eastern cultural traditions melodies where the distances of successive notes are less than a tone or less than a semitone, do not arise necessarily the emotion of anxiety which is claimed in this book , but also besides anxiety and sadness also neutral sensitivity!)
THE BASIC CONCEPT OF MUSICALLY BEAUTIFUL IN THIS BOOK IS THE CONCEPT OF HIDDEN SIMPLICITY OF RULES OF PROPORTIONS OF 2 AND 3 , AND IN GENERAL OF VERY SMALL INTEGER NUMBERS IN FREQUENCIES, (HARMONY) MELODIC MORPHOLOGY (VOICES) OF NOTE IN (2/3) AND OUT (1/3) OF THE CHORDS, RHYTHM (ORDER AND DIMENSION OF RHYTHMS), PERCENTAGE (2/3) OF MAJOR AND PERCENTAGE (1/3) OF MINOR CHORDS ETC.
(This percentage of 2/3 major chords and 1/3 minor chords is of course a statistical average not applying for single case songs)
ANOTHER SIGNIFICANT REASON THAT I STARTED WRITING THIS BLOG IS BECAUSE I WANTED TO COMPOSE SONGS THAT CAN CONVERT SADNESS TO JOY WITHIN THE SONG. I WANTED TO LEARN HOW THIS IS DONE IN ETHNIC MUSIC, IN JAZZ, IN CLASSICAL MUSIC AND ALSO DISCOVER MYSELF NEW SUCH TECHNIQUES .
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