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Songs,music,musical theory,books,photos,other.
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Musilosophy
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
www.musilosophy.com
contact@musilosophy.com
Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
In summary, the scales and the chord structure, which results from
them, depend on the main sounds of scale (the tonic one) and on its
harmonic sounds
9 Harmonic sounds are fainter ones which join the main
sound. In other words, every vibrating corpus (for
example a string, an instrument, human body)produces
a frequency or main sound to which more fainter
frequencies are added (the so called harmonic sounds).
The sum of all these frequencies make the sound which
we hear.
For the human ear these rules or physical mechanisms apply. A
sound having 200Hz frequency, for example, is the same sound of a
100 Hz frequency sound but higher (one octave).
In other words the human ear recognizes (same sounds for example)
and
interprets
(one
octave
higher)
the
rules
of
harmonic
sounds, from which scales, tonalities,
chords and music are formed.
9 Leibniz (an XVIII century philosopher used to say that
human ear counts frequencies and their relation
without knowing it.
When a listener loses the sense of key because of the musician s,
composers mistakes or of the singers false noteshe also loses the
musical sense and his listening is put in a critical position.
9 However, we have to note that often, for example in
some forms of jazz, the musician voluntarily destroys
the tonal sense both in a provocative way and in a more
stylistic and expressive one.
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2. RHYTHM CONCEPT
Rhythm is the temporal organization of sounds
Rhythm is the disposition of sounds during time
This disposition or structure must be understandable, that is having a
regularity. But if it is too regular and too simple, it becomes
monotonous and unpleasant
So rhythm must be generally regular, repetitive but varied at the
same time
9 As in every situation, whats repeated too much is
boring, even if it is very pleasant
Rhythm usually has a mathematical formulation, a structure which
repeats itself called tempo being marked to musicians at the
beginning of every song with a fraction. It indicates the organization
of the rhythmic cell of the song, the so called bar.
Tempo can be in two, three and so on. Tempo in two has two main
beats, in three has three main beats. If every beat is divided in two or
four there are simple tempos and there are composed tempos if every
beat is divided in three
Accents are particularly important in the rhythm becouse they point
out a beat instead of another one
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Usually in all musical forms the beats which the human ear tends to
hear less, because of the harmonic or melodic base of the song, are
pointed out. Harmony, melody, accompaniments and almost all parts
of a musical form change or move at the beginning of every bar,
so the ear perceives it clearly ( the so called downbeat), but it tends
to hear the beat after (upbeat) not as well.
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Improvisation
Improvising is composing in real-time
1. HARMONIC FEATURES
There are different ways in improvising more or less similar to the
harmony of the song on which it is made.
In pop and classical music (Mozart, Chopin, and many other ones
also improvised in the days going by) musicians improvise inside
harmony, chords and tonality.
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2. RHYTHMIC FEATURES
The rhythmic style in improvising suits the song rhythmic.
In Ragtime syncopations, upbeat accents and anticipations are being
used so much..
In Swing (jazz, blues, soul, rock and roll.and so on) a sort of
rhythmic sliding is created. Triplets quarters and eights are played
stressing upbeat notes.
www.musilosophy.com A blend of soul,funk,blues,pop and instrumental solos of jazz inspiration
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
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Improvisation techniques
Improvising is just like speaking, composing, singing, meditating
GENERAL CONCEPTS
For a good improvisation (that is harmonic and rhythmic practise) it is
necessary:
To respect the tonal sense of the song and consequently the listener
9 To always have the reference or tonal barycentre of the
song in improvising
That is :
9 Always knowing which is general tonality of the song
and its possible changes during its development
(modulations)
In getting out of the tonality, following determinate
expedients in order not to traumatize the listener
(playing notes out of tonality on upbeat or by passage
and making them solve on the closest tonal notes)
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
www.musilosophy.com
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
www.musilosophy.com
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
Studying music
Music is one of the vastest and most difficult arts
MAIN SUBJECTS
Ear Training
9 Ear training is training the ear with exercises aimed to the
awareness of what we are listening to, developing relative
pitch, absolute pitch, the arrangements and orchestration
analysis, analysis of the frequency balance and of
instruments between themselves..
9 Relative pitch is the ability to recognize sounds with one
or more reference notes.
9 Perfect (absolute) pitch is ability to recognize sound from
their colour.
Reading
9 It is learning to read the score in a fast way, at first sight
(sight reading)
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Theory
9
Interpretation
9 Listening executions and famous musicians recordings,
studying a song mechanism well and setting every author
in his stylistic framework.
Improvisation
9
Composing
9 That is getting to learn harmony, theory and different
ways of composing.
Arranging
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
www.musilosophy.com
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
www.musilosophy.com
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Songs,music,musical theory,books,photos,other.
2005 Paolo Parrella. You can freely use these pages only if they have this heading.(Linkware)
The same are the ways of listening to music. Until the first years of the
XXth century years (about 100 years ago) live concerts were the only way
of doing it. There were no Dvds, no internet or mp3!
Also in live concerts there was no hi-fi equipment of course. There are
banal considerations, but just a few people are aware of this: in my
opinion, just a few people have thought about what the loss of sound hi-fi
recording, reproduction and diffusion equipment has done.
Lets first examine the stylistic difference between modern and old music
only considering hi-fi technology.
A XIXth Century singer has to depend just on his vocal power, on his
pitch, which was so aimed to his sound power too. Very often a composer
had to resort to choirs, to solid orchestra groups in order to strengthen the
voice and instruments audibility.
The main composers works were usually the ones with many instruments
or singers (symphonies, concerts, opera) for these acoustics reasons too.
Today a singers breathing can be heard kilometres far away, without
considering radio,tv, internet and satellites. A singer today does not need
a XIXth Century pitch of the voice, energy and pulmonary capacity in
order to express his art. His singing, his pitch, his style and his studies
change so consequently.
In the same way many other instruments such as guitar have modified their
language and their orchestral s function. In the past people used to hear
the soft intimate sound of acoustic guitar or lute; now they are used to
hearing aggressiveness and incisiveness of modern guitars.
With electric energy and amplification equipment, the musician has got a
great sound power, unthinkable in the past. So music language, music
message and new styles are developed together with new music kinds such
as rock, pop and many other ones.
Lets now examine the differences in playback means. In the past the only
way of listening to music were concerts. So a composer listened to his
symphonies and operas just during his rehearsals and first performances.
The were only executed in few occasions and only if successful. The best
music divulgation were therefore scores.
Moreover the musician composed using his imagination (such as Mozart,
Beethoven, Verdi) or with his own instrument.
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Songs,music,musical theory,books,photos,other.
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MUSILOSOPHY
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God is love:
Peace in the world!