Musical Undercurrents Are About to Surface. The following sequence attaches itself to musical styles:
A style begins with the 1st generation.
The 2nd generation literally buries the style of the 1st. It has a new concept for music.
The 3rd generation of style buries the 2nd. It then resurrects the ideas from the 1st.
Here’s how it has worked in our western music history. Let’s begin with the Baroque Era:
J.S, Bach culminated the Baroque Era of counterpoint. It transitioned to a simpler style around 1750.
The Rococo era and early classical were the next musical trends. They used a melody and accompaniment approach. Simplicity was preferred.
The Romantic Era came with Beethoven’s middle and later works. This was after 1800. Bach, counterpoint and complexity came back into vogue.
Baroque Musical Undercurrents Resurfaced Romantic Era
In music, the BACH motif is the motif, a succession of notes important or characteristic to a piece, B flat, A, C, B natural. In German musical nomenclature, in which the note B natural is written as H and the B flat as B, it forms Johann Sebastian Bach‘s family name. One of the most frequently occurring examples of a musical cryptogram, the motif has been used by countless composers, especially after the Bach Revival in the first half of the 19th century.
How Do the Musical Undercurrents Apply to Today?
Either rap, puck and rock and roll have have been in the forefront of popular music from Elvis in the 50’s to the present time. This is about 65 years. It has outlasted the earlier Rococo and early classical styles of European western music. Inevitably, music with strong melody, like in the 1930’s, will resurface as a main thrust. Rhythm, of course, always must be there, regardless of style. Our new musical, Golden Roads, is avant guard in this respect. Yes, it also has the element of counterpoint. I say, welcome to another return of the Romantic Era.
Civilization Has a Key Number – Six Hundred and Sixty (660). It is mostly known as the number of feet in a furlong. In the featured picture distances for horses are usually marked by furlongs. A furlong is a measure of distance in imperial units and U.S. customary units equal to one-eighth of a mile, equivalent to 660 feet, 220 yards, 40 rods, or 10 chains. Six hundred and sixty also specifies a musical tone: Diatonic E in vibrations per second. Ancient instruments have been unearthed. We know how their tones vibrate.
In Civilization the Furlong and Farming Once Went Together With Racing Horses
Originally a furlong represented the distance that a team of oxen could plow a furrow (a long shallow trench in a field), on average, before they had to rest. This was also the length of an acre, which in Anglo-Saxon times was considered to be 40 × 4 rods (660 × 66 feet). A furlong appears to have been used as a horse racing measurement because in early days racing took place in fields next to ground that had been plowed. Therefore, the distance could be assessed quickly by comparing the racetrack with the number of furrows made in the neighboring plowed field.
Where Does Number 660 Stem From?
660 appears in two prominent ways. I was shown this by an American Indian spirit around Oquaga Lake. The poetry she spoke to me is below. When she made her introduction, our family was residing at Bluestone Farm. It said: “If you wish to know the secrets of antiquity, erase the lines on this number square. Read them by three or two numbers at the time. Do it as I will show you. At that time I was a full time pianist for the Scott family on Oquaga Lake
The same 660 can be reached with the double digit vertical totals when added in a similar manner.
660 is a Prominent Feature of the 5 Platonic Solids
The hidden 660 also runs parallel to the 5 Platonic solids. The core number is “5”. Of the solids, the tetrahedron has 4 faces. The cube has 6. An octahedron has 8 faces. The Dodecahedron has 12. The icosahedron has 20. Add them together by their squares: 4² + 6² + 8² + 12² + 20² = 660. If you studied the blogs, here is what becomes apparent: Neolithic priests knew the 3 x 3 number square as the stamping mill of the Universe.
Characteristic numbers where converted into set musical tones. Our A-440 comes also from this square. Add the perimeter two numbers at the time. Overlap them: 49 + 92 + 27 + 76 + 61 +18 + 83 + 34 = 440. Treating the numbers diagonally in the same way gives you the same total again. The ratio of the musical 5th for civilization is set out by this number square:
660/440 = 3/2 which is a diatonic fifth.
660 and 440 were made congruent with diatonic A and E by our ancestors.
Conclusion: Making our civilization harmonious was key to the founders of culture. The musical fifth is a “perfect” interval. Let us reinfuse our culture with “harmonious peace” as referred to by the Oquaga Spirit:
Career – Circumstances that Bolstered Beethoven’s. Here is a brief summary of his accomplishments from Wikipedia: Ludwig van Beethoven (baptized 17 December 1770 in Bonn – 26 March 1827 in Vienna) was a Germancomposer. He wrote classical music for the piano, orchestras and different groups of instruments. His best-known works are his third (“Eroica”), fifth, sixth (“Pastorale”) and ninth (“Choral”) symphonies, the eighth (“Pathetique”) and fourteenth (“Moonlight”) piano sonatas, two of his later piano concertos, his opera “Fidelio”, and also the piano piece Für Elise. When he was a young man, he was a talented pianist. Beethoven was popular with the rich and important people in Vienna, Austria, where he lived.
So, What Bolstered His Career?
Obviously, he played for rich and important people. But, he also held his music in the highest of esteem. Higher than even the royalty, At the time he lived in Vienna. It was the day of the amateur pianist. Aristocrats played the piano. They had a conception of how difficult mastery was. Prince Ferdinand Josel Lobkowitz was one of three that guarenteed him a life long income as long as he stayed in Vienna. This Prince had his own quartet. He played music all day long. Archduke Rudolph was a pianist who took lessons with Beethoven himself. He contributed to his income. The 3rd was Prince Ferdinand Kinsky. He loved vocal music. The times, Beethoven’s location and his incomparable genius launched his carrer. You could say, the right person at the right time. If the times are not quite right for you, be patient. Times also change in cycles. We are over due for lots of wonderful new happenings in the arts.
I have a special connection to Beethoven. It is being 5 generations removed by teaching lineage. Beethoven taught Carl Czerny. Czerny taught Franz Liszt. Liszt taught Emil von Sauer. Sauer taught my piano teacher, Mischa Kottler. I studied with Kottler for some 15 years. One of Beethoven’s inventions, I was told, was the prepared thumb. Also, the 2 note phrase was used to “divide and conquer” many difficulties. Enjoy my youtube presentation called the Paris Piano connection. You can hear me play 6 nights weekly at the Boca Grande Gasparilla Inn. I have a just newly reconditioned 1924 Steinway concert grand. This will be my 8th year of 6 nights weekly from Dec. 20 – April 14, 2017. I also have a couple of openings for piano lessons in Sarasota. The Beethoven tradition of my lineage of teachers must be kept alive!
Now for the big question: Musicians have had a difficult time making ends meet. How was he able to accomplish do so and quite well? He composed for royalty. In addition he conducted the court orchestra for Austrian Prince Esterhazy. For most of creative musical output, Haydn was indeted to Esterhazy. Here’s what most do not know: He was treated as a servant. When he went to concerts in Esterhaz or Eisenstadt, he was required to dress in a lackey’s costume. This is documented on page 12 in the book below. His humility saved him. He knew where his bread was buttered and “played ball.”
YES, THERE WAS A REBEL HIDING IN HAYDN!
Once in a while the rebel was aroused in him. This came across in his Farewell Symhony. It is entitled Symphony No. 45 in F-sharp minor. Esterhazy had kept the orchestra working beyond their specified calendar date. Instead of making a direct appeal to adjourn for the season, Haydn put his request into the music of the symphony. At his instructions, during the final adagio each musician artfully stops playing. He wrote it in such a manner that toward the end, the musicians would one-by-one stop, snuff out their candles, and walk off stage. At the movement’s conclusion there were just two muted violins left on stage. These were played by Haydn himself and his concertmaster. The Prince got the idea of what he needed to do. He adjourned the orchestra. Conclusion, Follow Haydn’s example: Even in protest be gentle and polite. You’re more apt to get the results that you want, or atleast a compromise.