If you're a musician you may be wondering: "what he means, traveling from ' world the world '?" Well that's a good question and I have a simple answer for that. Let me share with you a recent discovery happened upon while pounding the keys (which is "piano" in music-speak) and trying to come up with a song.
I've gone through 6 years of Western classical music training formalised and 4 years of studies in Ethnomusicology and for whatever reason, never caught one thing about the musical elements of the structure, motifs, and dynamic in any part or composition. If it came to my own composition, hardly ventured out on a different key and mostly stayed in one, differentiate sections by instrumental or production agreements instead. I mean, in theory, I knew about these elements, but I hadn't grown for them until very recently.
Just as I dabbled on the keys of some ideas here and there to try the transition from one section to another (perhaps with the intent of my boredom of creating music in a mono-escape key), accidentally hit a low note was a 4 on that does not belong to any of the notes in the key, but was based on an eighth notes in key. For example if I'm playing in the key of f major (which only has a b flat in that key), but I move to a mi bemol (which does exist in the key F) an si bemol, I only had played, which already successfully the transition of a key or the world, to another without it sounding strange.
Now I don't have more knowledge when it comes to explaining the theory of music (even though it's my own music), but throw away the low notes and you will hear what I mean. Add some chords those low notes and will broaden its scope of understanding of hearing the entire spectrum of music.
This is a very basic example of what I mean, traveling the world to the world ", but if you try to do this, you will win shortly a new experience in musical composition, as well as the simple music appreciation. In essence, you are moving out of their original key, or outside of your world, moving in that and flat, amending the sound perfectly in a new and larger flat, giving you the flexibility to return to their original f major.
Needless to say, this was an experiment to open ear for me and gave me renewed appreciation for past great musicals that don't have technologies like sampling and sound engineer to change the pitch of their instruments. They worked with what they had. And in a sense back by relying on technologies to structure my sound. Now I have big stand on their shoulders to integrate my sound future fusion recordings present with its recent technological innovation.
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