Music Theory

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Re: Music Theory

Postby Parodites » Sun Nov 14, 2021 5:14 am

MagsJ wrote:_
Do you have an example of this alternative scale in action, that we can listen to?


I was actually about to post one myself.

https://www.youtube.com/watch?v=3lOQs6yhzXA
https://www.youtube.com/watch?v=g_zeURTSuTM (In this second link, the scale is played by itself up and down several times; starting at 8:46. At 11:15 the scale is played in its simplest form, immediately followed by the main chord progression of this whole composition, without anything extra on top of it, just the raw progression.)

The form of this work is a chromatic fantasy with some loose passacaglia type writing, which is characterized by continuous variation on a theme, but it is included as number 89 in my 21st opus, which is a collection of etudes accompanying the prose text on music theory. The text will elaborate on something and then include actual musical excerpts from this Op. 21 collection to demonstrate and analyze things. This study in particular, which is exceptionally long for an etude and basically the length of one of my concertos at over 30 minutes, focuses on the use of the Lydian-Chromatic scale's polymodes, exploring its tonal regions; almost all of it was written in this polymode, constructed in the manner I've described through the thread. This meta-scale (superscale?) is the harmonic basis of the 15th chord, while I utilize several nonatonic systems to consolidate the remaining 4 notes of the total chromatic into chord progressions involving this augmented 15th degree. That being said, since I draw from classical, romantic, and jazz (plus other modern stuff), there are a multitude of techniques in which this harmonic material is expressed, but such techniques are of secondary importance for this etude. Its main subject is the theory of harmony I elaborated and putting it into practice; the technical praxis is arbitrary. I recorded half of it, but then at the end, in the second link, I allow the introduction to play as well, which is the main chord progression everything else is based on in the piece, and then several formulations of the Lydian-Chromatic polymode itself as a scale-run, up and down in lone notes and in octaves. If anyone plays or composes, you can easily take the scale and use it, or you can deconstruct those opening chords, which are 7, 8, 9, and even 10-tone harmonies. They're really what, from the perspective of more conventional and antiquated music theory, you would call polychords; one's a triple polychord. But again, the concept of a polychord- two independent chords with diverging key centers superimposed, only exists because there's no theory of harmony that can account for a chord with more than seven tones in it, since that goes past the limit of the diatonic scale, nor can the interaction of these diverging key centers be explained. There's no such thing, in other music theories, as a chord that large, and all theorists can do is break a chord like that down into two or more chords and simply say they're superimposed. But my own music theory can and does formalize such mega-chords, (up to eight tones as a 15th chord and, with nonatonics, up to a 12-tone row) and my use of symmetrical movement and negative harmony can also conceptualize such diverging patterns between key centers, namely in terms of tonal gravity and what I had called orbits, eg. the same "generator tone" can influence, in terms of tonal gravity, completely divergent key centers, even those opposite to one another on the circle of fifths.
Qui non intelligit, aut taceat, aut discat.

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Re: Music Theory

Postby Pedro I Rengel » Sun Nov 14, 2021 5:44 am

Why do you play them at retard speed?

It occurred to me for the first time since I heard one of your musics to play it at .25 speed, and it actually works pretty well (sound distortion notwithstanding). It sounds like the theme for an inspired nemesis in some 30's movie, but somehow more delicately and nicely ornamented. Eery, but not offensively, and pretty.

I would obviously say that there wasn't any apparent main idea or beautiful progression, no "story," but you already addressed that this is just a study. Still, would enjoy seeing what these can do in action when put to the purpose of an intentional piece at non-retard speeds.
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Re: Music Theory

Postby MagsJ » Tue Nov 16, 2021 4:38 pm

_
Agree.. the scale would need to be heard within a composition, to ascertain it fully.

Also.. posting this here, seeing as you do not read your DMs

Re: Music Theory
Sent: Thu 11 Nov, 2021 11:42
From: MagsJ
To: Parodites
_
I am so attending this.. https://www.eventbrite.co.uk/e/austin-o ... 4793762387


An Austin Osman Spare talk, by Phil Baker.. whoever he is.

Edited to add: on 17th Nov at 19:14 - the author

75673265-B2E4-4956-9295-A805B8A133BA.jpeg
75673265-B2E4-4956-9295-A805B8A133BA.jpeg (35.76 KiB) Viewed 407 times
The possibility of anything we can imagine existing is endless and infinite.. ~MagsJ

I haven't got the time to spend the time reading something that is telling me nothing, as I will never be able to get back that time, and I may need it for something important at some point in time.. Huh!? ~MagsJ

You’re suggestions and I just simply don’t mix.. like oil on water, or a very bad DJ ~MagsJ

Examine what is said, not him who speaks ~Arab proverb

aes Sanātana Dharma Pali: the eternal way ~it should not be rigid, but inclusive of the best of all knowledge for the sake of Ṛta.. which is endless.
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Re: Music Theory

Postby Parodites » Sat Nov 20, 2021 11:49 pm

Pedro I Rengel wrote:Why do you play them at retard speed?

It occurred to me for the first time since I heard one of your musics to play it at .25 speed, and it actually works pretty well (sound distortion notwithstanding). It sounds like the theme for an inspired nemesis in some 30's movie, but somehow more delicately and nicely ornamented. Eery, but not offensively, and pretty.

I would obviously say that there wasn't any apparent main idea or beautiful progression, no "story," but you already addressed that this is just a study. Still, would enjoy seeing what these can do in action when put to the purpose of an intentional piece at non-retard speeds.


A story? That's cute. Stories are for mortals. Things that are born, live, and die. They record their vanities and pass it on to their progeny as if it mattered, or could, in the end, aid them in surmounting the only moral obstacle that matters in this life-- death. But music- music conquers death. Music is not a form of story telling. Music is a direct expression of man's transcendental bent; an exploration of the Godhead itself. The best example of that is Bach, whose melodies are not really melodies... they meander and lead right back into themselves, like a closed circle. There's no "story" because there's no beginning, middle. and end. The main chord progression in that chromatic fantasy is, similarly. a palindrome of sorts- a circle. There is no beginning and end; the final chord directly leads back to the first chord for harmonic resolution, and on it plays again around the circle of time: eternity. The speed at which it is played is attuned to the speed at which an average piano virtuoso can play- Hamelin can even exceed the speeds I demand, in places. (I write very slow music in other places.) But why are the fast parts fast? Because sometimes it requires 1,000 notes to make a single sound.

The idea of the chromatic fantasy is the abstraction of that scale itself and its novel harmony. If you're as far down the rabbit hole of technique and music theory as I am, that idea is more than enough. I take it you mean you want music whose idea is more earthly, something less abstract. I made this playlist with the entirety of my 68th concerto. I was on fire for this one, and had a blast jamming it out. I was listening to it myself earlier for pleasure:

https://www.youtube.com/playlist?list=P ... tXgxtnlBNB

At 6:24 the main theme of the concerto appears. This theme will radiate throughout the thing, and I had a ball riding it. I was using Collier's famous one-note re-harmonization over the chords in accordance to the Lydian-Chromatic scale, which besides that study no. 89, is the basis of essentially EVERYTHING I compose. There's indeed fast parts in this, but I find it strange that you find that strange. The celerity I call for is actually pretty tame as far as virtuosic writing goes. The fingering and overlapping hands the writing calls for is FAR more technically demanding than the raw speed of the scalar runs and arpeggiations. (Plus these demands are placed on 2-4 pianists depended on my composition, since I simply don't write solo music. I write duo, trio, and piano quartet. Having exploded these new harmonic possibilities of the piano through these new scales, I have invented a new form- the piano symphony, where multiple players on multiple pianos exploit the entire piano's register to accomplish feats not seen in works less than the fully orchestrated symphonies of the Romantic period.) I don't know, just listen to any of the greats; Horowitz, Hamelin. That speed really isn't that far out there. Dude, have you heard Liszt's rondo fantastique? That's faster than about anything I committed to writing. I got disillusioned with the flashy raw speed stuff like 10 years ago and toned down my tempo after that.
Last edited by Parodites on Sun Nov 21, 2021 12:41 am, edited 10 times in total.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
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Measure the breaking of the Flesh in the flesh that is broken.
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Re: Music Theory

Postby Parodites » Sat Nov 20, 2021 11:52 pm

MagsJ wrote:_
Agree.. the scale would need to be heard within a composition, to ascertain it fully.

Also.. posting this here, seeing as you do not read your DMs

Re: Music Theory
Sent: Thu 11 Nov, 2021 11:42
From: MagsJ
To: Parodites
_
I am so attending this.. https://www.eventbrite.co.uk/e/austin-o ... 4793762387


An Austin Osman Spare talk, by Phil Baker.. whoever he is.

Edited to add: on 17th Nov at 19:14 - the author

75673265-B2E4-4956-9295-A805B8A133BA.jpeg



Let me clarify: that entire chromatic fantasy is written in this scale we're talking about. I play the scale at the end by itself just to highlight it. The entire thing, both the youtube links, IS that scale.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
omniformis protosseia immutilatum in protosarkos immutilata.

Measure the breaking of the Flesh in the flesh that is broken.
[ The Ecstasies of Zosimos, Tablet
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Re: Music Theory

Postby MagsJ » Sat Nov 20, 2021 11:56 pm

Parodites wrote:Let me clarify: that entire chromatic fantasy is written in this scale we're talking about. I play the scale at the end by itself just to highlight it. The entire thing, both the youtube links, IS that scale.

I will re-listen.. the scale at the end, especially.
The possibility of anything we can imagine existing is endless and infinite.. ~MagsJ

I haven't got the time to spend the time reading something that is telling me nothing, as I will never be able to get back that time, and I may need it for something important at some point in time.. Huh!? ~MagsJ

You’re suggestions and I just simply don’t mix.. like oil on water, or a very bad DJ ~MagsJ

Examine what is said, not him who speaks ~Arab proverb

aes Sanātana Dharma Pali: the eternal way ~it should not be rigid, but inclusive of the best of all knowledge for the sake of Ṛta.. which is endless.
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Re: Music Theory

Postby Parodites » Sun Nov 21, 2021 12:06 am

Just keep in mind that the entire thing is written based in that scale, (despite how completely different all the sections of it sound compared to one another; but that is the point, the scale offers incredible harmonic diversity. In fact, since it uses all 12 tones like a tone-row, it literally offers the maxima of tonic diversity. There's nowhere else to go after it.) all the textures are developed out of it; even the melodies are framed over the skeleton of that scale.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
omniformis protosseia immutilatum in protosarkos immutilata.

Measure the breaking of the Flesh in the flesh that is broken.
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Re: Music Theory

Postby Parodites » Sun Nov 21, 2021 12:22 am

Edited some more thoughts in my response to you and Pez, think I will leave it there till ya'll get back. Gonna go pop some pills and get plastered again, I was working late and it's over-due.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
omniformis protosseia immutilatum in protosarkos immutilata.

Measure the breaking of the Flesh in the flesh that is broken.
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Re: Music Theory

Postby promethean75 » Sun Nov 21, 2021 12:22 am

Lemme ax u sumthin. Are u even aware that none of us know what the fuck ur talking about? I'd hope that u are and are only showing off. I'd hate to think ur so smart ur stupid. Please tell me ur just flexing.
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Re: Music Theory

Postby Parodites » Sun Nov 21, 2021 12:30 am

The problem is this is advanced stuff. In fact, it is more than advanced. I am into things that are beyond all published music theory and breaking new ground. What I am on about is what comes after you've went through Art Tatum and pentatonics and Slonimiskian infrapolation. So in order to talk about this, I have to just accept that 1 out of every 10 million people are gonna be able to understand. (This goes for the music theory stuff, the actual music itself, my politics, economics, philosophy, and psychology, and basically everything else since I'm a polymath who knows and can do everything :) ) But there's simply no other way to talk about this stuff. However, that is why I titled this thread music theory. It assumes that you have at least some interest in and knowledge of music theory. So I am genuinely trying to share my discoveries and techniques and educate, but yeah I'm also flexing.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
omniformis protosseia immutilatum in protosarkos immutilata.

Measure the breaking of the Flesh in the flesh that is broken.
[ The Ecstasies of Zosimos, Tablet
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Re: Music Theory

Postby promethean75 » Sun Nov 21, 2021 12:37 am

I see. Well I'm out then because I don't even know how to read music. I just play.

I hear and can recognize subtleties and patterns and such, but wouldn't know how to talk about it.

I have failed you, and for that I am sorry.

p.s. I got some percs dude. We should drop.
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Re: Music Theory

Postby Parodites » Sun Nov 21, 2021 12:44 am

promethean75 wrote:I see. Well I'm out then because I don't even know how to read music. I just play.

I hear and can recognize subtleties and patterns and such, but wouldn't know how to talk about it.

I have failed you, and for that I am sorry.

p.s. I got some percs dude. We should drop.


We should drop? I drop every 2-3 hours if you mean eat pills. And you haven't failed anything. I aim to spark an interest in those not down the rabbit hole with me. Google polytonality, harmonic planning, etc. Any of the terms or concepts I use and just follow the trails. The end goal of it is to give you new techniques and ideas to use in composing your own shit.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
omniformis protosseia immutilatum in protosarkos immutilata.

Measure the breaking of the Flesh in the flesh that is broken.
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Re: Music Theory

Postby promethean75 » Sun Nov 21, 2021 12:51 am

Nah I'm good.

I'm just gonna go over here now and watch.
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Re: Music Theory

Postby Parodites » Wed Dec 08, 2021 1:21 pm

I'm going to indicate people who aren't me who I feel are worth listening to. And by that, I mean emphatically so. You see, as a musician or composer, there are some whose works you listen to for simple recreation, for pleasure. Others, you study their works, even if you don't personally enjoy them, to learn from them, to absorb their knowledge and technique- in the interest of furthering your own musical development. And then there are some few rare men whose works serve for you both purposes- you listen to them both for pleasure, and to learn. These are those few for me.

Ravel
Tansman
Prokofiev
Feinberg
Rautavara
Sorabji
Shostakovich
Kasputin
Busoni
Liszt
Alkan
Tatum
Scriabin
Stravinsky


Raut., Icons; Death of Mother God:
https://www.youtube.com/watch?v=f0hAQLCzk6I

Shostakovic., Symphony 11, piano transcription:
https://www.youtube.com/watch?v=LjSPu3DdUts

Prokofiev, cadenza from Concerto no. 2:
https://www.youtube.com/watch?v=X4r0os-JVEY

Sorabji, transcendental etude on Bach's chromatic fantasy:
https://www.youtube.com/watch?v=hvBePjeAS9k
Sorabji, Opus Archimagicum:
https://www.youtube.com/watch?v=WgjDPScPanY
^ This is inspired, in my own analysis, by Alkan's Op. 76 no. 3:
https://www.youtube.com/watch?v=kI-rg6tboHs
Sorabji, Messa Alta Sinfonica:
https://www.youtube.com/watch?v=XWhVIINF5IM
Sorabji - Piano Symphony No. 2 Punta d'Organo constanziata:
https://www.youtube.com/watch?v=-L_VfF_Bjqg

Sorabji, Op. Clavicembalisticum
https://www.youtube.com/watch?v=t5Vro6ytaPk
https://www.youtube.com/watch?v=jhRaTb1c3Qs

Busoni, Fantasia Contrapuntistica:
https://www.youtube.com/watch?v=bV1M7p475RM

N. Kapustin, Etude no.3 op.40 "Toccatina":
https://www.youtube.com/watch?v=R2ndg6lbsTw

Feinberg - Piano Sonata No. 6, Op. 13
https://www.youtube.com/watch?v=iNhwA46Ch54
https://www.youtube.com/watch?v=_PewheP_U4w

Tansman, Suite dans le style ancien
https://www.youtube.com/watch?v=IZ-9ry8pyfY

Tatum. Yesterdays
https://www.youtube.com/watch?v=q0QD558TWSQ
Last edited by Parodites on Wed Dec 08, 2021 8:31 pm, edited 2 times in total.
Qui non intelligit, aut taceat, aut discat.

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ΑΝΤΗΡΟΠΑΡΙΟΝ,
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Re: Music Theory

Postby Parodites » Wed Dec 08, 2021 5:04 pm

One of the big ones recorded with instruments instead of a MIDI, my 21st symphony: (I have to move my entire DAW and Vst setup from one computer to another in order to start recording again, I have been procrastinating it.) https://audiomack.com/parodites/song/op ... tasy-no-21

The following are stuck being Midi only for now:
Concerto 32 stuff
https://www.youtube.com/watch?v=ddXbo37lkFo
^ That is a ten minute self-contained cadenza to this: https://www.youtube.com/playlist?list=P ... HQOHuMASc0


This is material for the 23rd symphony:
https://www.youtube.com/watch?v=B8XsrCa ... 7kwhUzZolK

Companion pieces, Concerto 68 and 69:
https://www.youtube.com/watch?v=_c3cZpY ... tXgxtnlBNB

https://www.youtube.com/watch?v=jP4_EYq ... q1SylsTl4f
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BTHYS TOU ANAHAT KHYA-PANDEMAI.
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ΑΝΤΗΡΟΠΑΡΙΟΝ,
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Re: Music Theory

Postby Parodites » Thu Dec 09, 2021 6:23 pm

I often, instead of listening to music, just read the notation. It's a purer experience than hearing it, though I do enjoy the auditory experience as well- it's just that this auditory experience is a small part of a much larger experience of music that embraces all of my senses at once, my entire nervous system and physiology. I have a rarer variant of synesthesia which, instead of just, for example, causing a person to "see" sounds, connects all of my senses: I "see" the music, but I also feel each chord with its own weight, each harmony like a block with its own size and shape, etc. I see it, have a tactile response by feeling its weight, it has shapes and sizes, etc.

You'll notice that all the links pair the music with either a visualization or, if that isn't available on Youtube, just the sheet music. I do this to approximate synesthesia, which I have. Music to me is only incidentally an auditory phenomenon. Music itself is pure form, pure information, pure pattern, pure... When I observe the stars and the motions of the planet, or I see ripples on the face of water,- all of those things, to me, are music. When I compose, I see the pure structures in my head as sort of blocks fitting together, each block with a different feeling, a tactile response like it had a unique weight, each has its own shape and size and they just fit together like legos in my mind's eye. Then I write the music down. And these blocks fit together, not merely into frozen architecture as Goethe called it, but machinery- the blocks form together into these animated... machines, I don't know what else to call them. It takes work to get these machines to activate, to fit together and become alive and start doing whatever they are doing or are supposed to do. If you remove the wrong block, the machine stops moving around, it becomes dead, de-activated like a robot you took the battery out of... You put the right blocks in the right place and boom, it becomes alive again and starts moving around, like an engine or something. Because of this, I hold each of my compositions in my mind's eye as though they were unique machines, each one "does" something, some of them move, some turn really fast in a circle like an engine, some undulate, folding into and out of themselves, pulsating; each of these machines is very different, each operates a certain way... I can disassemble and reassemble them in my head; sometimes I can take a part out of one and plug it into another and it does something weird or cool, which might become the basis of a whole new composition. I try to interconnect all of these machines in my head to create one giant machine; it would be amazing to connect them all together to sort of, I don't know, unify the entirety of my mental contents into one "thing"... I would also say that I experience my prose, my ideation, my philosophy in this exact same way: music and prose to me are the same thing, it's these blocks and interconnective machines I get from my synesthesia. There is no difference at all, to me, between writing music and writing prose. This type of synesthesia- I am trying to explain what it's like but it's hard to do. This is about the best I can do with describing the experience.

If you've ever used DMT and seen the strange self-transforming machine things that characterize the experience: it's that, these block-machines I am trying to describe. I believe DMT causes you to have, briefly, this kind of synesthesia.
Qui non intelligit, aut taceat, aut discat.

BTHYS TOU ANAHAT KHYA-PANDEMAI.
-- Hermaedion, in: the Liber Endumiaskia.

ΑΝΤΗΡΟΠΑΡΙΟΝ,
in formis perisseia mutilata in omnia perisarkos mutilatum;
omniformis protosseia immutilatum in protosarkos immutilata.

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Re: Music Theory

Postby MagsJ » Fri Dec 10, 2021 2:53 am

_
I have a similar synesthesia, so my every waking moment is full of synesthesic- surprises.. I see, feel, think, hear, sense, and intuit things, all rolled into one, and.. as you can imagine, my life.. is truly a blast.

Apparently.. its a wiring thing.
The possibility of anything we can imagine existing is endless and infinite.. ~MagsJ

I haven't got the time to spend the time reading something that is telling me nothing, as I will never be able to get back that time, and I may need it for something important at some point in time.. Huh!? ~MagsJ

You’re suggestions and I just simply don’t mix.. like oil on water, or a very bad DJ ~MagsJ

Examine what is said, not him who speaks ~Arab proverb

aes Sanātana Dharma Pali: the eternal way ~it should not be rigid, but inclusive of the best of all knowledge for the sake of Ṛta.. which is endless.
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Re: Music Theory

Postby Ichthus77 » Sun Dec 12, 2021 6:59 am

I can’t really read music, but play by ear a little, and can def do the thing in the mind/brain that feels the harmonies and can harmonize more into it than was originally composed - experientially on the fly *as if* it’s part of the original. It doesn’t happen as a representation of 2D sheet music in my head. The music is inside and all around - stretching as far as the sound waves can be heard (but mentally… which isn’t to say… disembodied… it is felt). If I had grown up learning to play by reading, I’d have def composed by now, but wonder if I would experience music differently.

But my recent interest is in how all waves behave similarly, and translating between different kinds of waves… for me, just between light (visible spectrum) and sound. There is harmony among all waves. I play around with it using venn diagrams, blending chords like colors.

I’m frustrated that so far all opinions given (since I have no knowledge to rely on) say there is no logical match up between the frequencies. I’m sure it’s b.s.

You seem especially attuned to uncover it.

Maybe you have, but I don’t have time or background to digest the whole thread.
Fall semester ends 12/16/22. Apologies if I do not reply immediately.

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Re: Music Theory

Postby Fixed Cross » Tue Dec 14, 2021 4:48 pm

Parodites wrote:I often, instead of listening to music, just read the notation. It's a purer experience than hearing it, though I do enjoy the auditory experience as well- it's just that this auditory experience is a small part of a much larger experience of music that embraces all of my senses at once, my entire nervous system and physiology. I have a rarer variant of synesthesia which, instead of just, for example, causing a person to "see" sounds, connects all of my senses: I "see" the music, but I also feel each chord with its own weight, each harmony like a block with its own size and shape, etc. I see it, have a tactile response by feeling its weight, it has shapes and sizes, etc.

You'll notice that all the links pair the music with either a visualization or, if that isn't available on Youtube, just the sheet music. I do this to approximate synesthesia, which I have. Music to me is only incidentally an auditory phenomenon. Music itself is pure form, pure information, pure pattern, pure... When I observe the stars and the motions of the planet, or I see ripples on the face of water,- all of those things, to me, are music. When I compose, I see the pure structures in my head as sort of blocks fitting together, each block with a different feeling, a tactile response like it had a unique weight, each has its own shape and size and they just fit together like legos in my mind's eye. Then I write the music down. And these blocks fit together, not merely into frozen architecture as Goethe called it, but machinery- the blocks form together into these animated... machines, I don't know what else to call them. It takes work to get these machines to activate, to fit together and become alive and start doing whatever they are doing or are supposed to do. If you remove the wrong block, the machine stops moving around, it becomes dead, de-activated like a robot you took the battery out of... You put the right blocks in the right place and boom, it becomes alive again and starts moving around, like an engine or something. Because of this, I hold each of my compositions in my mind's eye as though they were unique machines, each one "does" something, some of them move, some turn really fast in a circle like an engine, some undulate, folding into and out of themselves, pulsating; each of these machines is very different, each operates a certain way... I can disassemble and reassemble them in my head; sometimes I can take a part out of one and plug it into another and it does something weird or cool, which might become the basis of a whole new composition. I try to interconnect all of these machines in my head to create one giant machine; it would be amazing to connect them all together to sort of, I don't know, unify the entirety of my mental contents into one "thing"... I would also say that I experience my prose, my ideation, my philosophy in this exact same way: music and prose to me are the same thing, it's these blocks and interconnective machines I get from my synesthesia. There is no difference at all, to me, between writing music and writing prose. This type of synesthesia- I am trying to explain what it's like but it's hard to do. This is about the best I can do with describing the experience.

If you've ever used DMT and seen the strange self-transforming machine things that characterize the experience: it's that, these block-machines I am trying to describe. I believe DMT causes you to have, briefly, this kind of synesthesia.

Damn.

Enviable.

All DMT ever did to me by the way, the one time I used Ayahuasca, was have its goddess appear and say to me "Value ontology is the thing you think it is, go home and teach it".

But these strange self-transforming machines are, it seems to me, what I mean with 'self-valuings'.
The strong do what they can, the weak accept what they must.
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