Suite Sonata or are Sonatas No Longer Sweet? In my blog this means is the sonata form no longer sweet or in vogue? Let’s define our two featured terms. Firstly, I must state that by sonata, I mean the sonata form. Here are the two terms with definition:
Suite: In music, a suite (pronounce “sweet”) is a collection of short musical pieces which can be played one after another. The pieces are usually dancemovements. The French word “suite” means “a sequence” of things, i.e. one thing following another. In the 17th century many composers such as Bach and Handel wrote suites. In the Baroque period, a sonata was for one or more instruments almost always with continuo. A continuo is mostly not used in the sonata form of the classical area. A continuo means a continuous base line.
Sonata form, also known as sonata-allegro form, is an organizational structure based on contrasting musical ideas. It consists of three main sections – exposition, development, and recapitulation – and sometimes includes an optional coda at the end. In the exposition, the main melodic ideas, or themes, are introduced. After the Baroque period most works designated as sonatas specifically are performed by a solo instrument, most often a keyboard instrument, or by a solo instrument accompanied by a keyboard instrument. Quite frequently, the older baroque “sonata” was performed by a group of instruments. The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on its own specific importance.
The Sonata form was, in a way, a rebellion against the musical vehicle of the suite. Styles in fashion, furniture, music, manners etc, change in cycles. The earlier Beethoven sonatas used the sonata form. His later extended sonatas are more of the freer Romantic era. Most agree that Beethoven was the transition composer that launhced that Romantic era of music.
Suite Sonata or Are Sonatas no Longer Sweet?
I predict that styles, taste and music, the Suite will rise above other forms. Suites are perfect form carrying beautiful melodies. Each number in a suite can carry its own melody. This was the practice of the romantic era. The Holberg Suite by Grieg is such an example. As a composer, I love the form of sites. Here are 2 examples of my compositions:
The Dance of the Zodiac- with numbers for each of the 12 zodiac signs.
The Ringling Suite- inspired by paintings at the John Ringling Museum in Sarasota, Fl.
The Elemental Suite depicting the ancient belief in Earth, air, fire and water as elements.
Conclusion on Suite Sonata -The future will give sweets to the Suite.
Musical Backbone of the Cosmos is a Number Square.Musical unity of the cosmos issues forth from the 3 x 3 number square. Notice that 8 boxes surround the central box in the featured picture. Be it ancient or modern, the number 5 is the crux of tones or key signatures:
In antiquity 8 the tones of the scale were derived from a series of ascending fifths. For example, “C” to “G” or “G” to “D”.
In modern times (today) key signatures are derived from a circle of 5ths. In music theory, the circle of fifths (or circle of fourths when approached backwards) is the relationship among the 12 tones of the chromatic scale, their corresponding key signatures, and the associated major and minor keys. More specifically, it is a geometrical representation of relationships among the 12 pitch classes of the chromatic scale in pitch class space. *On ascending 5 tones to a new key signature, a new sharp is added that is 5 tones higher than the previous sharp. For example, G major has one sharp. It is an F#. D major has 2 sharps. It maintains the F# from the key of “G”. D major adds new C#. Note: F#,G,A,B,C#. Counting “F”, then “C” is 5 letter names higher.
Musical Backbone Set in the 3 x 3 Grid
Music comes in 8 bar segments. In the same way, on the featured picture boxes and their numbers, they are paired by opposites. For example, any boxed number and its opposite boxed number always totals ten. This includes 2 + 8. Or, 3 + 7, etc. Two paired boxes total 8 lines. This is at 4 lines per box.
In music the first 4 bars are called antecedent
The second 4 bars are called consequent
A complete musical song form typically uses 32 bars segments. These are described by AABA. Each letter (A or B)represents 8 bars of music. Likewise, 8 boxes are encompassed by the circle on the featured picture. That makes for 32 lines: 4 (lines per square) x 8 squares = 32 lines.
Here is one for those who believe this blog is simply a “slight of hand.” Go around the perimeter. That is, the numbers surrounding the central “5”. Use two numbers at the time in either direction as follows. You get the same total. Here is the clockwise direction. 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. The ancients tuned to A-440. We tune to A-440.
A number of blogs on DSOworks show the unity of the arts and sciences. They demonstrate how this is effected through the above featured number square. We know the way to peace. Why not follow the road signs? It’s that easy.
Minute Waltz Glimpse of Chopin’ Genius. When a genius creates, everything he or she does is great. Such is the piano music of Frederic Chopin. The Minute waltz has a touching story attached to it. It was inspired by a dog. The dog belonged to his muse and girlfriend, George Sand.
The “Minute Waltz” is the nickname for the Waltz in D flat major, Op. 64, No. 1 by Frederic Chopin. It was written in 1847. It is a piece of music for the piano. It is sometimes called “The Waltz of the Little Dog” (French: Valse du petit chien). This is because Chopin was watching a little dog chase its tail when he wrote it. The little dog was “Marquis”. He belonged to Chopin’s friend George Sand. Marquis had befriended Chopin. The composer mentioned Marquis in several of his letters. In one letter dated 25 November 1846, Chopin wrote: “Please thank Marquis for missing me and for sniffing at my door.”
The waltz was published by Breitkopf & Härtel. It was the first of three waltzes in a collection of waltzes called Trois Valses, Op. 64. The publisher gave the waltz its popular nickname “Minute”. The tempo marking is Molto vivace (English: Very fast, very lively), but Chopin did not intend the waltz to be played in one minute as some believe. A typical performance will last between one and a half to two and a half minutes.
The Complex Rhythms of the Minute Waltz Revealed
Just take a look at my 5 measure excerpt above for this:
The treble staff has the 2 beat motif of four eighth notes in measures 1 and 2. The motif is repeated many times during the waltz.
The scale that follows in has 8 eighth notes. They cover 4 beats.
Measures 4 and 5 have a dotted quarter note beginning each measure. The entails 1½ beats each.
Also in 4 and 5, following the dotted quarter are 3 eighth notes. Each 3 note phrase lasts for 1½ beats.
Finally, against all this melodic complexity, we find a steady 1-2-3 beat in the left hand. It takes the form of “Bass-chord-chord.”
So Where Can I Hear David (this blogger) Play Chopin’s Minute waltz?
I am still booked six days a week through April 14 at the Gasparilla Inn. It is on the Florida isle of Boca Grande. There I get my choice of 2 vintage steinway Grand pianos. I played in the “living room” from 6:20 to 7:00 pm. Then I go in the dining room and play from 7 – 9 pm. See you there.
Triad Trinity and Temples Play Tick-Tack-Toe. Musical Temples Become a Reality in Tick Tack Toe Design. Here’s how: Right below is a blurry picture of the tick tack toe board blueprint that includes the basis of both the Holy Temples in Jerusalem. The First Temple based on the middle row of 3 vertical boxes. That corresponds to the pictured middle, vertical row of the C – E – G triad. On the 3 x 3 number square, that relates to 9-5-1. The Second Temple was built to include the entire nine-boxed tick tack toe board. The 2nd temple extends the dimensions of the 1st to the left and right of 9-5-1. The First Temple was 60 x 20 cubits. According to the Tanach (Hebrew for Bible), he 2nd temple becomes 60 x 60 cubits.
Judaism and much of the beliefs of sacred antiquity springs from this 3 x 3 board. It becomes apparent when the boxes are filled with numbers one to nine arranged so that any row of three totals 15. These 9 boxes, in a parallel way can also hold the 9 tones of the primary triads that define a key.The triad trinity is named (Vertically left to right) tonic, dominant and sub dominant. In the key of “C”, the tonic is C-E-G. It rests on the central vertical row of the number square pictured below. Thus:
The triple-boxed shape of the 1st Temple is likened to the middle 9-5-1 row of the 3 x 3 square.
The dominant of G-B-D occupies the same position as the 2-7-6 to the right.
The sub-dominant of F-A-C. occupies the same position as 4-3-8 to the left.
When used in combination, a triad trinity can be seen as outlining the boundaries of the 2nd Temple. They also define the primary triads of C major. The grid can hold the three primary triads of any key signature. These three key defining triads comprise 9 tones altogether.
Triad Trinity is, Top to Bottom and Vertically Left to Right- Sub Dominant, Tonic, Dominant
So Where else in the Grid Do We Find the Concept of Musical Temples?
The same grid that was the foundation of the two Jerusalem Temples sets the basic diatonic musical interval of the fifth by vibrations per second. They are A-440 and E- 660. Take the numbers two at the time. Go around the perimeter either way. Here is how to find the A-440: 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. Here is how to find the E- 660. You get the same sum either vertically or horizontally. (49 + 35 + 81) + reversed as 94 + 53 + 18) + from the other side: (29 + 75 + 61) + and again reversed (92 + 57 +16) = 660.
The basic musical interval from which ancient and modern musical systems is the musical 5th. Our more modern music uses key signatures of the Circle of Fifths. Ancient music used individual tones derived by the actual fifth. The key or core number of the 3 x 3 number square is 5. Any other number placed in the center destroys its symmetry. This is the basis of its sacred order.
So How Did I Discover This Approach to the Trinity of Triads?
There is an American Indian spiritual presence on Oquaga Lake in the Catskill Mountains. For years I had been the piano player at Scott’s Oquaga Lake House. This spirit would accompany me on walks in wilderness. I call on it by the name of the Oquaga Spirit. On my product page of DSOworks I have some 80 of her poems. It is called, The Oquaga Spirit Speaks. I also have a free thumbnail of me reading the spirit’s poetry. It is on the front page.Here is a sample couplet: If it’s life you wish to live and enjoy to the marrow, then get thee a walking stick and hear the morning sparrow.
Octahedron Unifies Space Time in Ancient Cultures. It does so from an Earthly viewpoint. First of all, what is an octahedron? It is one of the 5 regular polyhedrons. The other 4 are the tetrahedon, icosahedron, cube and dodecahedron. However you view any one of them, it is totally symmetrical. . Together they are also called the Five Platonic Solids. How is the octahedron identified? By its number corners, edges and faces. It has the following:
These total 26 topological features. See the featured picture above
The octahedron has a non- identical twin brother (or sister). It is called a cube. They don’t look alike. But consider this. The cube has:
The twelve edges are the same in both. Whereas, the number of faces and corners trade places. They are as closely connected as twins. The octahedron pictured below contains a cube. The 6 corners of the octahedron have their points touching the center on the 6 faces of the cube. For that reason, they are called dual polyhedrons.
So How is it That the Octahedron Unifies Space Time?
Unfortunately, the Egyptian Library at Alexandria was burned down. Its wisdom describing prehistory was destroyed. Both the cube and octahedron were considered to be harmonious figures. This thought actually goes back to at least 11,000 B.C. Why harmonious? Because of the numerical relationship of its topology.
12 is one-third greater than 8
6 is one-third less than 8.
Eight is the number that defines the musical octave. That is the most harmonious and fundamental overtone of the entire overtone series. Guy Murchie thoroughly explains this in his two volumes of The Music of the Spheres.
How Does This Knowledge Date Back to Prehistoric Times?
The holiest sites of antiquity were designed as cubes or square base pyramids. The square base upright pyramid is found in the top half of the octahedron. Although the bottom half is not there, it is implied. As a cube, the Biblical Holy of Holies was set in back third of Solomon’s Temple. The total rectangular perimeter of the temple was 60 x 20 cubits. The 20 x 20 cubit back third becomes cubic. Also, the Ka-aba in Arabic literally means, cube.
Much of the world order of antiquity was destroyed. The cause was invaders from Afghanistan. The invaders were called Kurgans. Riane Eisler discusses this her The Chalice and the Blade.
What was the purpose of these Holy Sites? – To spread harmony and peace throughout the world. This was effected by their geometric harmony. Since many were destroyed, war has ensued. In unity we find peace. In division we find war. The octahedron unifies space time. It defines space as a geometric form. How does it define time? Each vertex of the regular triangles holds 60°. The 4 upper triangles of the octahedron have a total of 12 vertices. 12 x 60° = 720°. The lower 4 triangles total 12 vertices. They also total 720°. The upper 4 triangles represent the 720 minutes in 12 hours of daytime at the equinox. The lower 4 triangles represent 720 minutes contained in 12 hours of nighttime also marked by the equinox.
Conclusion: Look for harmonious models. Base civilization on these models. Peace follows. The ancients did in through geometry. The same can also help us today.
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:
Fifth is Basic to Music Throughout History. A pentagon has five vertices. A fifth encompasses five consequtive tones in the scale. Parallels through by number were sought between two seemingly dissimilar things. Similarities were considered a higher form of knowing. Today, looking for differences is now the main thrust. Differences were also considered in prehistoric times. They were not as important as the similarities. This is graphically pictured on the Tree of Life. It is the central figure of Kabbalah. Here is how they are pictured: Understanding(3) is Biyna. Wisdom (2) is Chokmah. Therefore in looking for similarities, you were closer to the source than in looking for differences.
HOW DOES THE MUSICAL INTERVAL OF THE FIFTH TIE INTO THE TREE OF LIFE?
Again, by number. The Tree has 3 vertical pillars. They are headed, from left to right, by numbers 3,1, and 2. These numbers define the “perfect” intervals. The two notes of the octave vibrate in a 1 to 2; or 2 to 1 ratio. On the Tree, this is Kether to Chokmah. For, example, the lower octave of A-440 is A -220. The octave is considered the first perfect interval. The second perfect interval is the fifth. It vibrates in a 3 to 2; or 2 to 3 ratio (for the lower fifth). This is defined by Chokmah to Binya. The frequency ratio 4:5 is called a major third, and 5:6 is a minor third. A minor sixth is the interval which together with a major third, makes an octave. Its ratio is 5:8. A major sixth together with a minor third also make an octave. The major sixth’s ratio is 3:5. These relationships are also pictured on the Tree of Life by emanation number. A system of meditation based on the numerical musical intervals on the Tree of Life is thereby illuminated.
Reviving Antiquity. We are proud and pleased to announce we are refocusing our energies into two websites. Our web posts on DSOworks are currently at over 260 blogs. DSOworks will now be directed toward music, the performing arts and theater. All subjects relating specifically to antiquity will have its own website: revivingantiquity.com. Poetry by the Oquaga Spirit will appear on both.
REVIVING ANTIQUITY THROUGH MUSICAL TONES IN A NEW VISION OF PEACE
In the forgotten past was strong bond between music and architecture. From musical instruments dating from the 2nd and 3rd millenium B.C., we know vibrations per second of their pitches. These vibrations were translated by building designers into numbers of measurements prominent in their particular sites. A prime example is Stonehenge on the Wiltshire plains.
There were three main building phases, each between about 3100 BC and 1950 BC. The first circle, ~3000 BC, was made of timber. The post holes for the timber have been found. Around 2600 BC, the builders gave up timber in favour of stone. Most of the construction took place between 2640 and 2480 BC.
On page 127 Michell discusses how: The 17 surviving stone pillars are still suported by six curved stone lintels. He further states: As it once was, the circle of sarsen lintels was “one of the most exact and symmetrical works …ever created. The width is taken as 3,52 feet by many metrologists. Also, the distance from its center to the outside heel stone is 264 feet. Here are some its parallels to music:
The old diatonic “C” vibrates 264 times/second.
The old diatonic “F” vibrates 352 times/ second.
In closing: Our new website, revivingantiquity.com, will refocus on the unity art and science once share through number squares. Keep checking on its progress. The goal of the site is to work at redirecting mankind to a harmonious existence as once was envisioned in our forgotten and lost past. This, of course, is no small task. But as Hillel said: “If not now, when?”.
Sing to the Lord all the Earth ref. Johannes Kepler. First of all, most of us have an idea about the Lord. Who was Kepler? Johannes Kepler, (born December 27, 1571, Weil der Stadt, Württemberg [Germany]—died November 15, 1630, Regensburg) German astronomer who discovered three major laws of planetary motion, The ones were will consider in are: Laws 2: The time necessary to traverse any arc of a planetary orbit is proportional to the area of the sector between the central body and that arc. It is known as the “area law.” Law 3: there is an exact relationship between the squares of the planets’ periodic times and the cubes of the radii of their orbits (the “harmonic law”). Harmonic? Does the Earth have song? Do we need a new song? The Psalms continually refer to a “new song.” If we do, what exactly is wrong with the old one?
Psalm 33:1-22Shout for joy in the Lord, O you righteous! Praise befits the upright. Give thanks to the Lord with the lyre; make melody to him with the harp of ten strings! Sing to him a new song;
Psalm 96:1 Oh sing to the Lord a new song; sing to the Lord, all the earth!
For the Earth’s musical motif as per Kepler, we have “Mi, Fa, Mi”. He stated this stood for “Misery, Famine and more Misery.” In this regard, the psalms are what we need. They can eliminate this condition. It would be a worthwhile undertaking to sing this new song. Enough negativity. Read the psalms and join the happy chorus in the featured picture! Best of the holidays from DSOworks.com Isaiah 42:10 – Sing unto the LORD a new song, [and] his praise from the end of the earth, ye that go down to the sea, and all that is therein; the isles, and the inhabitants thereof.
Fifths of Tones Sets the Future and was the Neolithic Standard. Why the featured picture? The answers are all on the piano keyboard. Piano playing develops a talent for working with numbers. The solfeggio of the fifth set the way for the building of Neolithic temples. In Close Encounters of the Third Kind, the tones Do and So are the 5th. Do to So are a prototype for all fifths. The ancient temples used specific diatonic tones. The fifth relationship (3 to 2 ratio) was there. The only difference was the set specific tones. They were the fifth of A to E in Neolithic times; not the C to G as pictured on this staff.
Ancient diatonic tones had a primary fifth. The lower was set at A-440 vibrations per second. The higher was E-660 vibrations per second. Various historical cultures set the numbers of these tones into their own units of measure. Instruments dating back to the Sumerian times have been found. We know of their vibrations per second.
Neolithic cultures thrived on number squares. That’s what I have blogging about on DSOworks. Please read them all. This is lost knowledge that I have found. They also had knowledge of the hidden number codes on the 3 x 3 number square.
Consider the 3 x 3 number square by double numbers: First we view horizontally: (49 + 35 + 81 + 94 + 53 + 18) + (92 + 57 + 16 + 61 + 75 + 29) = 660. Now view vertically: (43 + 95 + 27 + 34 + 59 + 72) + (83 + 15 + 67 + 38 + 51 + 76) = 660. That numbers our diatonic “E”.
Consider the perimeter of 3 x 3 number square by overlapping double numbers as: 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. Reverse the numbers and get the same total. That numbers our diatonic “A”.
We have just found the following: (1) The lower diatonic “A” 440 of the fifth. (2) The higher interval of the fifth. That is, E- 660. Many readers are experiencing this information for first time. Please recognize that Neolithic, priestly ancestors knew this over 6,000 years ago. How did I come by this knowledge? On Oquaga Lake an Indian Spirit from the Lennie Lenape tribe was anxious to share her wisdom with me. Below is a free sampling of her poetry. Enjoy!