Musical Quaternity is analogous to the Four Elements. Here are the players:
The musical quaternity for this blog includes melody, harmony, rhythm and counterpoint.
The four elements are alchemical. They comprise earth, air fire and water. On the wheel of the zodiac they each occur in rotation three times. This covers the 12 zodiac signs.
Analogy (from Greek ἀναλογία, analogia, “proportion”) is a cognitive process of transferring information or meaning from a particular subject – the analog or source, to another. It has been argued that analogy is “the core of cognition”.
Air is counterpoint. It represents the quality of reason. Counterpoint requires structure, rules and thought. Alchemists thought that air contains the vital spirits of life. The words for spirit and psyche come from the same Greek word: ” From from Greek psykhe “the soul, mind, spirit; breath; life, one’s life. It is the invisible animating principle or entity. The psyche occupies and directs the physical body; understanding It is akin to psykhein “to blow, cool,” from PIE root *bhes- “to blow, to breathe”.
Alchemist Heating a Pot, by David Teniers the Younger (1610 – 1690), oil on canvas.
Harmony is more like the combined, unified yet undifferentiated background. Harmony is the vertical aspect or sound of musical. It represents the combination of sounds at any given moment. Those qualities parallel water. Counterpoint is the horizontal direction of various lines the harmony holds. The two are thus interconneted. horizontal axis.
Melody is tied to rhythm. You cannot have melody without rhythm. In alchemy, fire represents maximum molecular activity. Earth is minimum activity. It is grounded. With the vertical axis, fire rise. Rhythm gives melody shape and purpose. It provides the substance of melody. They are interconnected as the vertical axis.
Baby Song Lyrics are Literally Everywhere. I am writing this blog to
Describe how this word is now an anachronism. It is outdated.
Show how this word has prevailed in popular culture.
Show that this catch all word should be replaced a more appropriate word.
List a number of songs that communicate the frequent use of this overworked and tired word.
Place a little humor into a blog.
First, We Turn to The Producers to Look at Baby Song Lyrics
Following the flop of theatre musical Funny Boy (based on William Shakespeare‘s Hamlet) (“Opening Night”), the show’s washed-up producer, Max Bialystock, hires the neurotic Leo Bloom as his accountant. While studying Max’s books, Leo notes that a flop is expected to lose money. The IRS won’t investigate the finances of failed productions. Leo jests by selling an excess of shares and embezzling the funds, a flop could generate up to $2 million. Max asks for Leo’s help with the scheme. Searching for the worst play written, the duo finds Springtime for Hitler, a musical written by an ex-Nazi named Franz Liebkind. Max and Leo acquire Franz’s rights to the musical, They adapt it to their own vision of the play. They do their best to make it a flop. They use the worst lyrics. The show is in bad taste. Then they hire what could be considered a joke of a singer-actor for the lead. He constantly says or sings the word, “baby”. This word is obviously not in keeping with the playwright’s intentions. Its use upsets Franz Liebkind to no end. He angrily states:
Franz Liebkind: Baby! Baby!… Why does he say this “baby”? The Führer has never said “baby”. I did not write, “baby”. What is it with this, “baby”?
A Short Sample List of Baby Song Lyrics and Titles
(You’re So Square) Baby I Don’t Care – Elvis Presley.
(You’re) Having My Baby – Paul Anka.
…Baby One More Time – Britney Spears.
Always Be My Baby – Mariah Carey.
American Baby – Dave Matthews Band.
Angel Baby – Rosie & the Originals.
Angie Baby – Helen Reddy.
Anybody Seen My Baby? –
Please check on line and be amazed. Click in The Best Songs with Baby in the Title.
Finally, why do I think that Baby Song Lyrics are inappropriate for today? A baby is totally dependent. Babies need love, attention and oversight. We live in a day and age where both women and men want to be respected and independent. A new woman’s movement is afoot. In this context, calling anyone, man or woman baby is at best, belittling. What are your thoughts on baby song lyrics?
Periodic Chart Harmony Favors the Octave Interval. In music, an octave (Latin: octavus: eighth) or perfect octave is the interval between one musical pitch and another with half or double its frequency. It is defined by ANSI as the unit of frequency level when the base of the logarithm is two. The octave relationship is a natural phenomenon that has been referred to as the “basic miracle of music”, the use of which is “common in most musical systems”.
So where is the periodic chart harmony of the octave?
Here is a quote from blog #400. It is also about the periodic chart.
The system begins with hydrogen-1. The next vertical element is Lithium-3. So, 3-1 = 2. This is the first coding number on the chart.
Lithium is atomic number 3. Sodium is 11. By subtraction 11 – 3 = 8. Sodium has 8 more protons than lithium.
Potassium has 19 protons. Sodium has 11. We see another 8 protons by subtraction. As, 19 – 11 = 8.
Next, Rubidium has 37 protons. Potassium has 19. We have our 1st 18 proton difference: 37 – 19 = 18.
Cesium is atomic number 55. Rubidium is atomic number 37. Thus, 55 -37 = 18.
That is followed by a 32 proton number difference. Francium is atomic number 87. Cesium is 55. Thus, 87 – 55 is a 32 number difference.
The chart finds periodic or repeating properties with atomic numbers 2, 4, 18, and 32. The first vertical row sets the pattern. Periodic chart harmony is found with these numbers. Simply write the 2 to 1 interval of the octave as follows. 2/1, 4 /2, 6/3, 8/4. The number of each fraction expresses an octave when multiplied as:
2 x 1 = 2
4 x 2 = 8
6 x 3 = 18
8 x 4 = 32.
Blogs on DSOworks.com are attempting to place our planet in harmony with the cosmos. Pythagoras saw the basic unity of music with our world. He defined it by string lengths. If one string was 2 x as long as the other, the shorter sounded an octave higher to the longer. An octave is (1) The most harmonious interval. It is also the most “perfect” of the perfect intervals. (2) It is also the first overtone in the series of overtones. Why not take the musical view of our cosmos? For those who are interested, I’m offering piano lessons in Sarasota.
Careless Music Editors Point the Wrong Way. I am a proud graduate of Cass Technical High School in Detroit. The school was a four-year university preparatory high school in Midtown Detroit, United States. The school is named in honor of Lewis Cass, an American military officer and politician who served as governor of the Michigan Territory from 1813 until 1831. The school is a part of Detroit Public Schools. In the 1960’s Cass Tech two major musical curriculum. Both were college prep. The school had some 30 college prep courses of study. You could even major in aeronautics. We actually had an airplane in one of the rooms that you could work on for assembly or repair. In the music courses the students were wise to editors. We all spoke of a professional frustration cycle. It went from soloist to conductor to editor. Editors, we half-jokingly said, wanted to get revenge on everyone else. Obviously, they couldn’t be successful at the first two professions. Not bad for high school kids!
J.S. Bach omitted placing tempo, phrasing or dynamics in his works. Over zealous editors quickly stepped in. I quote Edward Hughes from G. Schirmer & Co. I think he is one of the good ones. Edwin Hughes taught at the Ganapol School of Musical Art in Detroit from 1910 to 1912, the Volpe Institute of Music in New York from 1916 to 1917, and the Institute of Musical Art in New York from 1918 to 1923. He lectured at various schools. From 1920 to 1926 he was special editor of piano music for G. Schirmer, Inc. He toured widely in the USA and Europe after the close of World War I; performed duo-recitals with his wife, the pianist Jewel Bethany Hughes, and also gave master-classes. He also had opinions about careless music editors.
Careless Music Editors Over-Edit
I am currently working on the Bach Prelude and Fugue in A minor. It is transcribed for piano by Franz Liszt. Publisher is G. Schirmer Inc. Hughes humbly states about his editing: “The phrasing is to be regarded more as indicative than complete. Of himself he states “There is no desire to appear arbitrary in matters of pedaling, touch and so forth. Also bear in mind: “In the democracy of art there is no final authority on such subjects.” I think these are the words of a great man.
Finally, if anyone is interested I have I have one or two openings for piano students in Sarasota.
Bach Keyboard Preference- Proof is Quite Surprising. We will consider the harpsichord v. the clavichord. All kinds of keyboard falsehoods were spread in the 19th century. Inaccuracies affected keyboard virtuosos, piano teachers and, of course, instrument builders.
During Bach’s later years, a new style began brewing.The new style rebelled against counterpoint. J.S. Bach’s son, Karl Philipp Emanuel, was in favor of change. He advocated thegalant style. In music, galant refers to the style which was fashionable from the 1720’s to the 1770’s. The clavichord was well suited to the galant style. This movement featured return to simplicity. It advocated immediacy of appeal. The style ignored the complexity of the late Baroque era. This meant simpler, more song-like melodies. The sweeter and quieter sound of the clavichord was suited to this style. The style had decreased use of polyphony. It favored short, periodic phrases. Harmonic vocabulary was quite limited. It emphasized the tonic and dominant triads. A clear distinction was made between soloist and accompaniment.
Bach Keyboard Preference Favors the Harpsichord
No matter how ingrained a style may seem, its life is limited. Of course, that rule applies to today: It holds for popular styles in America as well as the rest of the world. Consider this: In Baroque times many composers wrote sweet or expressive music for the harpsichord. They included Rameau, Couperin and Frescobaldi. Titles, for example, included: Les Tendres Plaints, La Reine des Coeurs, Canzone, etc. However, Bach also composed music of force and fury. That was more suited to the harpsichord. The harpsichord was flexible. It could be either sweet sounding or furious,
Proof Positive of the Bach Keyboard Preference
After Bach’s death an actual inventory of musical instruments in his home was made. In the realm of keyboard instruments he had: (1) Five harpsichords. (2) One spinet. (3) He even gave three-pedal harpsichords to Johann Christian before his death. In the inventory not even one clavichord is mentioned. The value of his harpsichords amounted to one-third the value of his entire estate. The entire estate was valued at 1122 rt. 16 gr. My source is Landowska on Music:Collected, edited and translated by Denise Restout assisted by Robert Hawkins. Conclusion: Every keyboard has a personality in the same manner as every person. Incidentally, I have a few openings for piano lessons in Sarasota.
Andante Tempo Chaos as Tempo Lacks Resolution. I enjoy reading books on music. Landowska on Music is such a book. Wanda Aleksandra Landowska (5 July 1879 – 16 August 1959) was a Polish–Frenchharpsichordist whose performances, teaching, recordings and writings played a large role in reviving the popularity of the harpsichord in the early 20th century. She was the first person to record Johann Sebastian Bach‘s Goldberg Variations on the harpsichord (1933). She became a naturalized French citizen in 1938.
Wanda Landowska in 1937
Her chapter 10 is entitled “Of Movement and Measure.” I was enthralled by her method of defining the word “andante”. I felt it was necessary to share it with my readers. The differing descriptions of this term can leave a person confused. You might ask, is there even a real answer? She also compares the descriptions of Andante with Andantino. Musicians, read the quotes and decide for yourselves.
Musical Dictionary Andante Tempo Chaos
Le Dictionnaire de l’Academie Française states: Andante- moderate movement.
Littré: Andante- not too fast or too slow. Andantino- slower than Andante.
L’Encyclopédie: “Andante” slow movement. Andantino – faster than Andante (an obvious contradiction with #2).
L’Encyclopédie des Gens du Monde: “Andantino”- faster than andante. However, under the word “Movement” we find”Andantino” is slower than andante!
L’Encyclopédie Moderne: “Andantino” means a slower measure and a certain regularity in movement, more in keeping with stiffness than with gravity.
Larousse: “Andante”- moderate movement with a tendency towards slowness. “Andantino” -word indicating a modification of movement (whatever that means).
I’ve saved what I think is the best quote for last: Le Nouveau Larousse- Andantino- more animated. All musicians agree on this subject!
Well, what source are you going to believe? Perhaps the performer factors into the andante-andantino equation. A most beautiful description of Andante came from the incomparable lady, George Sand. She was Chopin’s companion and lover. “Autumn is a melancholy and gracious andante which admirably prepares the solemn adagio . Please share this with friends. Perhaps this blog illustrates why most can’t seem to agree on anything- even andante.
Changing Music Indicates Changing Times. Welsh music, as recorded in the Welsh Triads, adjusted its music to changing times. Here’s how. In ancient England, changes were foreshadowed by “perpetual choirs.”
How did I discover this? My source is City of Revelaton by the Reverend John Michell. The Welsh Triads are verses of great antiquity. They were written by “prehistoric bardic historians.” Unique choirs are mentioned:
One at the now existing site of Glastonbury Abbey.
Another operated at the site at which Stonehenge now exists.
A third was at Llantwit Major at Glamzorgan.
2,400 saints worked each site. Each kept a perpetual chant going. Each of the 24 hours of the day, at each site, occupied 100 saints with singing.
As the Times Varied, Changing Music Marked Their Song
The character of time changes with the seasons. As light can change by the hour, so could their song. Another aspect of song was planetary. The school of Pythagoras believed that each planet had its own pitch. As their distances from each other changed, so did the music.
We are currently living through times of great change. Music that heralds beautiful melody will lead the way. In all aspects, people will buy what is beautiful. I was taught to play with beautiful tone. Play well-formed two-note phrases are key. Also, how to emphasize the note that is tied over the measure. My instructor was Mischa Kottler.
In looking to this beautiful past, I am helping to lead the way to the future. We all need beautiful things in our lives. When times are difficult, all need the beautiful in art, poetry and music. To this end, I am working full time this year. I will be playing piano from Christmas to Easter. This will be six days weekly. The location is at the Gasparilla Inn on Boca Grande.
Until Christmas, I am working to bring musical beauty back at the Crab and Fin Restaurant on Saint Armand’s Circle. I play three days weekly. Call for specifics. Wear something comfortable, but beautiful. Enjoy a tasty and well-presented meal while dining outdoors to my piano music.
New Music Heralds a new age. This was a known truth in the past. New music was created by the great composer, Beethoven. At first he wrote in the classical style. By 1810 he became a crucial figure in the transition between the Classical and Romantic eras. In Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include
Classical music was often written written for royalty. It needed tp be pleasant and unobtrusive. Romantic emphasized feelings and emotions of the individual. Its range of passion and expression were greater. The power and magnificence of nature was also a subject for Romantic musical expression.
Ludwig von Beethoven was a Mason. A such he knew many Masonic secrets. These secrets heavily figured into Beethoven’s creativity.One such secret was the Fibonacci series of numbers. They grew by successive addition. Nature develops by these numbers. The series goes: 1,1,2,3,5,8,13,21,34,55,55,89,144,233,377,610 etc. Two previous numbers are added to get the next sum.
Leonardo Fibonacci was born 600 years before Beethoven. The beginning of the Fibonacci series, named after him. are the numbers in red. It continues to infinity.
Beethoven used this series in his Fifth Symphony. Of course, 5 is the first non-successive Fibonacci number. The series skips from 3 to 5. Here is the proof: 233 measures is the length of Beethoven’s opening section. 377 is the length of Beethoven’s development section).
But Beethoven’s Masonic Use of New Music Goes Even Further
The Masonic tool for engineering par excellence was the 3 x 3 number square. Many of the free blogs on DSOworks.com cover the subject. Look at the composition list above. Beethoven wrote 9 symphonies, 5 piano concertos, and 1 violin concerto. This is a vertical, middle column read across the square of three. I blog about how Solomon’s Temple used this section. The Second Jerusalem Temple used the entire bluprint. Look at the next two numbers of his output:
32 piano sonatas
16 string quartets.
Read my blog about the period chart. The square root of 32 comes from the geometry of the grid. Also, the ratio of 32 to 16 by the sonatas and quartets form a 2:1 ratio. This defines the first fundamental perfect overtone of the octave. Finally look at his crowning 9th symphony. It is all about the brotherhood of man!
Look at the music of the featured picture: The sequence is well known in America, Canada and England. In the U.S. the music is an excerpt from “My Country Tis’ of Thee.” In England it is “God Save the Queen (King)”. Bars 3 and 4 form a sequence with bars 1 and 2. They use the same pattern, only one tone lower. Just as a refresher, here is the British and American music on youtube. The British words are “Send him victories, Happy and glorious.” In America the corresponding words are “Land where my fathers died, Land of the pilgram’s pride.”
Examples of how Musical Sequences are Universal and Basic
Let’s look at basic scientific sequences. They work on the same principle as music. In Platonic style, here’s two basic groupings of numbers: 3-4-5 and 6-7-8. We have a true pattern for musical sequence operating in math and the sciences.
3-4-5 has geometrical import. One is the single line that begins the process. The classic example is the 3-4-5 Pythagorean right triangle. The formula is 3² + 4² = 5². Of course, with the 5 Platonic solids, three use triangles (3 sides).These include the tetrahedron, octahedron and icosahedron. The cube uses squares (4 sides). The dodecahedron uses pentagons (5 sides). Pictures are below.
6-7-8 has implications for organic chemistry. Hydrogen begins the count. It is like the single line that begins form in geometry. Hydrogen’s atomic number is one. Six is carbon’s. Seven is nitrogen’s. Eight is oxygen’s.
Conclusions: This blog puts forth mathematicalPlatonism. Here mathematical entities are abstract They have no spatial, temporal or causal properties. They are eternal and unchanging. Numbers represent eternal truths. They are behind everything. Musical sequences, by sound, express their beaty through sound.
Tones Plus Overtones Prove Former Advanced Civilization. This civilization knew the ways peace. It was a time when “yin” ruled. This is according to Chinese tradition. Also according to Chinese tradition is Feng shui. Both peace and Feng shui are based on the 3 x 3 number square. So are two key points of this blog, (1) the primary overtones ratios. (2) Their vibrations per second in antiquity.
An overtone is any frequency greater than the fundamental frequency of a sound. Here is the illustration: Play a low “C” on the piano. It is tone “1” in the illustration. Call this low “C” the fundamental. When played, this tone sets off a series of tones. The strongest are the first five above the fundamental. They also make for the most pleasing ratios in sound. For example 1:2 is the octave. 2 :3 is the fifth. 3:4 is the fourth.
Above is the harmonic series in musical notation. We see the names of the intervals above the fundamental. . The relative amplitudes (strengths) of the various harmonics primarily determine the timbre of different instruments and sounds. For example, the clarinet and saxophone have similar mouthpieces and reeds. Both produce sound through resonance of air inside a chamber. Each mouthpiece end is considered closed. The clarinet’s resonator is cylindrical. This means even-numbered harmonics are less present. The saxophone’s resonator is conical. That allows the even-numbered harmonics to sound more strongly.
TONES PLUS OVERTONES PROVE AN ADVANCED, ANCIENT CIVILIZATION
Here’s how tones plus overtones work together. Our Neolithic ancestors of this: All “magic square” have characteristic numbers. But this one also has secret number codes. Here are its characteristic numbers:
Any two opposite numbers = 10. Examples 4 + 6 or 3 + 7.
The single central number is 5.
Any straight row of 3 numbers totals 15.
The perimeter of 8 numbers totals 40.
The perimeter + the center = 45.
Next, here’s how the characteristic numbers relate to fundamental overtones. These are constructed with numbers one thru four. This are expressed by ratios of two consecutive numbers.
1 to 2 is a perfect octave. On the above number square, the ratio of the central 5 to opposite combination on the perimeter of 10 is is 1:2.
3 to 2 is a perfect fifth. On the above square, the ratio of any row of 3 (15) to any 2 opposite numbers (10) is 3:2.
4 to 3 is a perfect fourth. The ratio of the 4 even corner numbers (20) to any row of three (15) is the 4:3 ratio.
Harmonic overtones of fundamental perfect harmonics are defined by these characteristic numbers. They are the octave, fifth and fourth. There are no other Perfect Intervals.
So Where are the Actual Tones in Terms of V/S on the Number Square?
Go around the perimeter in either direction. Add two numbers at the time as follows.
660 to 440 define the 3/2 ratio. These define a section of tones plus overtones.
Other tones of the ancient scale are to found in this number square. So, the number square holds musical tones. It has overtones. The number block has interval ratios and their tones. The square of three allows us passage to a lost Golden Age.