Andante Tempo Chaos

Andante Tempo Chaos as Tempo Lacks Resolution

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 PolishFrench harpsichordist 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.[1]

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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

  1. Le Dictionnaire de l’Academie Française states:  Andante- moderate movement.
  2. Littré: Andante- not too fast or too slow.  Andantino- slower than Andante.
  3. L’Encyclopédie:  “Andante” slow movement.  Andantino – faster than Andante (an obvious contradiction with #2).
  4.  L’Encyclopédie des Gens du Monde: “Andantino”- faster than andante. However, under the word “Movement” we find”Andantino” is slower than andante!
  5. L’Encyclopédie Moderne: “Andantino” means a slower measure and a certain regularity in movement, more in keeping with stiffness than with gravity.
  6. Larousse: “Andante”- moderate movement with a tendency towards slowness. “Andantino” -word indicating a modification of movement (whatever that means).
  7. 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.

George Sand by Charles Louis Gratia (c. 1835)

Changing Music Indicates Changing Times

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.”

Changing Music and Perpetual Choirs?
The Welsh Triads speak of perpetual choirs of saints in the distant past.

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.

Image result for picture of Mischa Kottler for the blog on changing music
Mischa Kottler was a pupil of Emil von Sauer, Sauer studied over two years with Liszt.

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.

Image result for picture of the Gasparilla Inn n the Isle of Boca Grande
I play here on a vintage and newly reconditioned Steinway concert grand from the 1920’s. Parts were shipped directly from Germany.

 

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 of the romantic era reflects the times in Beethoven's later music.

New Music Heralds New Ages Like Beethoven’s 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

Image result for picture of Beethoven's piano
Beethoven’s new music included many Masonic principles.

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.

Related imageLeonardo 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!


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Musical sequences

Musical Sequences are Both Universal and Basic

Musical Sequences are Both Universal and Basic. In music, a sequence is the restatement of a motif or longer melodic (or harmonic) passage at a higher or lower pitch in the same voice.[1] It is one of the most common and simple methods of elaborating a melody in eighteenth and nineteenth century classical music[1](Classical period and Romantic music).  Examples of characteristics of sequences:[1]  

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

God save the King – The national anthem of the British … – YouTube

My Country, ‘Tis of Thee (with lyrics) – YouTube

Musical Sequences Applies to the Sciences

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.
Image result for picture of the 5 platonic solids on DSOworks
Platonic solids have regular polygons of either 3 4 or 5 sides.
  • 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.
Ethanol-structure.svg
An example of an organic compound. Carbon + 6. Hydrogen = 1. Oxygen = 8.

Ethanol-CRC-MW-trans-3D-balls.png  Ethanol-2D-skeletal.svg

 

 

Conclusions: This blog puts forth mathematical Platonism.   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.

 

 

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Tones plus overtones both come from a number square

Tones Plus Overtones Prove Former Advanced Civilization

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

Tones plus overtones of the ancient scale are found here
The simplest of number squares will spearhead a New Golden Age as it did in the past.

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.

Tones and overtones and number squares.
Knowledge, for me came, from a spiritual presence Oquaga Lake. See products on DSOworks.com.

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.

  • 49 + 92 + 27 + 76 + 61 + 18 + 83 + 34 = 440. Diatonic “A” vibrates 440 times per second.
  • 49 +94 + 35 +53 + 18 + 81 + 92 + 29 + 57 + 75 + 16 + 61 = 660 Diatonic “E” vibrates 660 times per second.
  • 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.

 

 

 

Regal Leo the Lionheated

Regal Leo and Audio Musical Preferences

Regal Leo and Audio Musical Preferences. Music Under the Zodiac is the name of my upcoming book. As a musician, I have an interest in the zodiac. There are many parallels, for example:

  • We use the well-tempered scale. It has twelve 12 tones within the octave. There are 12 zodiac signs.
  • We have four types of triads. They are major, minor diminished and augmented.  The zodiac has four elements, They are earth, air, fire and water. Earth is dense. The diminished triad is the most compact. Fire is the most effusive of the signs. An augmented triad is the most expansive of the triads. Water and air parallel minor and major respectively. They fit in their size of 7 half tones from the first note between the earth and fire triads. Earth uses 6 half steps, fire uses eight.

    Types of triadsAbout this sound I About this sound i About this sound io About this sound I+ 

    In music, a triad is a set of three notes (or “pitches“) that can be stacked vertically in thirds.[1] The term “harmonic triad” was coined by Johannes Lippius in his Synopsis musicae novae (1612).

  • Speaking of triads, there are three categories of zodiac signs. They are set by cardinal, fixed and mutable. Cardinal is the month that begins a season. Like the 1st month of Spring under Aries is cardinal. Fixed is the second month of the season. It is Taurus in Spring. The third, a mutable zodiac sign, ends the season.  It is called mutable because it prepares for the next trio of the summer zodiac months. This last month of Spring is Gemini.

What About Regal Leo?

 

 

four aspects of time are cyclic

Four Aspects of the Moon and Four Types of Musical Triads

Four Aspects of the Moon and Four Types of Musical Triads. Time is cyclic. A cycle may be divided into four distinct parts. I call these the four aspects of time. The four aspects of time are continuous. One part of the cycle follows the other in the same order over and over. If we know what point the cycle is at, we can predict the next point.  Just for the sake of starting somewhere in the cycle of time, I listed the up swing of the cycle first.

  1. The winding up of a cycle is the increase of cyclic activity.
  2. The maximum point at which cyclic activity is the greatest is most intense.
  3. After  maximum intensity, the cycle unwinds.
  4. Finally, the point of least activity is reach. Tension disappears. Immediately after this point, the cycle starts another upswing.
Image result for picture of the Moon and its four primary phases
Four aspects of the Moon can be compared to the 4 types of musical triads.

Next we have four types of triads. From smallest to largest they are: Diminished, major and minor, and augmented.

  • Diminished is the most contracted. Counting from the first note, in root position, it has six half steps up to the last note.
  • Major and minor triads are middle of the road. The have 7 half tones from the first note up to the last.
  • Finally, augmented is the largest. It has 8 half tones from the first to the last.
  • Types of triadsAbout this sound I About this sound i About this sound io About this sound I+ 

    In music, a triad is a set of three notes (or “pitches“) that can be stacked vertically in thirds.[1] The term “harmonic triad” was coined by Johannes Lippius in his Synopsis musicae novae (1612).

Here’s how to animate the four phases of the Moon by musical triads:

  1. The new Moon has the least light. The diminished triad is the smallest triad. It has the 6 half tones as described above.
  2. The full Moon has the most light. The augmented triad is the largest triad. It has the 8 half tones.
  3. The waxing and waning Moon are neither the smallest or largest aspect of the Moon. They are in between. They correspond to the major and minor triads respectively. The major would represent the waxing cycle. The minor represents the waning cycle.  Major and minor triads both use 7 half tones from the 1st note.

Four aspects, be they  four elements, the cyclic view of time, or musical triads- all correspond.  The goal is to seek a grand unity of science and art in the same manner as did Neolithic and pre-Neolithic cultures. In unity we find harmony and co-operation.

 

 

Interesting repetition of the bass line.

Interesting Repetition With the Musical Canon by Pachelbel

Interesting Repetition With the Musical Canon by Pachelbel. . Since the 1980s, Pachelbel’s Canon has also been used frequently in weddings and funeral ceremonies  throughout the western world. It uses a continually repeating bass line. Off season in Florida (that means summertime), I extend my services for weddings.

Repetition has different levels of sophistication. In this present day and age, words are frequently repeated over and over. The word choice word  seems to be “baby”. Also, in today’s musical palette, four bars of music are often repeated over and over- like a chant. Simplistic chants are used in advertisements. They can hypnotize you into buying a product.

Interesting Repetition in Pachelbel’s Canon in D

Sarasota Wedding Pianist plays Pachelbel’s Canon – YouTube

https://www.youtube.com/watch?v=5m-IpXovpHk
1 day ago – Uploaded by Dso Works

Pianist David Ohrenstein plays Pachelbel’s Canon. Now available to play for Sarasota weddings. For more …

Pachelbel’s Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel’s piece, there are three voices engaged in canon (see Example 1), but there is also a fourth voice, the basso continuo, which plays an independent part.

Interesting repetition as the bass plays the same notes over and over underneath florid violins.
Interesting repetition becomes an art form in Pachelbel’s Canon in “D”

Example 1. The first 9 bars of the Canon in D. The violins play a three-voice canon over the ground bass to provide the harmonic structure. Colors highlight the individual canonic entries. The bass voice keeps repeating the same two-bar line throughout the piece. The common musical term for this is ostinato, or ground bass (see the example below).

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 Why is the Canon in “D” and the canon form so popular with weddings? The canon provided a grounded bass over which the music above changes and flows. A man and wife can change over the years. However, the sacredness of the wedding vows remain constant. They make the part of the grounded bass. The grounded by can be compared to the presence of the Divine.  Now is that beautiful, or what? I play  the Canon as part of my repertoire at the Crab and Fin Restaurant at St Armand’s Circle season outdoors on  Mondays, Tuesdays and Wednesdays. If it rains, no show! Check events on DSOworks.com for times.
Randomness in Music With the 12 Tone Technique

Randomness of the 12 Tone Technique Applies to our Math

Randomness of the 12 Tone Technique Also Applies to our  math.  The initial proponent of this technique was Arnold Schoenberg (1874–1951), Austrian-American composer. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note[3] through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key.

Randomness of Music and Numbers

Our modern use of numbers parallels the 12 tone technique. The 12 tone technique is best described as willful randomness.  Antiquity thought of numbers one to nine as belonging to a system. It was called the 3 x 3 number square.  In our music that is set in the circle of fifths, this is called a key signature.  The numerical key signature of the ancients  was the vehicle of the number square. They favored 7 primary number squares. This could equate with 7 key signatures. The simplest and first was 3 x 3. Their favored squares ranged from 3 x 3  to 9 x 9. They did use higher numeric squares. However, the basic 7 were most common. Sacred prayers in Judaism coded higher number squares. Two favored ones were 13 x 13 and 17 x 17. I have blogs on this subject on DSOworks.com. Some 10,000 years ago, and maybe further back in time, all numbers belonged to unified systems. They were also connected  to words. For example, “order” could be 264. Each symbol of the ancients represented a letter and a number. There were no separate letters and numbers. Their unity called by a Greek name, gematria.  Look it up online. At one time there was no  randomness. You can sample ancient unity on the 3 x 3 number square picture below.

With the ancients, randomness is lacking.
Every number relates to the others in a meaningful way in the Neolithic times.
  • Any two opposite numbers around the perimeter total 10. Examples are 4 + 6= 10 ; 9 + 1 = 10; etc.
  • The average of any two opposite numbers around the perimeter is 5. Five is the core number.
  • Each number contributes to a perimeter whose total around #5 equals 40.
  • The total of all the numbers on the square is 45. . (That equals the sum of the  numbers  from 1 to 9).
  • Each number is set so that any row of three totals 15. This is true vertically, horizontally or diagonally.

The high level of organization of numbers in antiquity is staggering. Today, with our modern sciences, we totally lack such an organizing system for our numbers. I believe that result is  social conflict. The genius of Arnold Schoenberg made a powerful musical statement as to where our culture was heading. Let us return to the way of the ancients. Reviving number squares is what many of my blogs are about. Enjoy the illuminating sample of the 12 tone technique below!

 

 

Mexican Sun Pyramid has a blueprint

Mexican Sun Pyramid Draws on Platonic Codes

Mexican Sun Pyramid Draws on Platonic Codes. Yes, there is an ancient temple plan. It dates back to Neolithic times. Plato used it. It was employed all around the world in antiquity. I discovered it in a vision while hiking around the loop by Oquaga Lake.  The same Ancient Temple Plan also graces the Mexican Sun Pyramid.  I discovered it by means a vision while hiking around Oquaga Lake. The special character of the lake nature is described in my book of poetry on DSOworks.com: The Oquaga Spirit Speaks. It can be downloaded.

I was walking down the main road by Scott’s golf course when I had the insight that forms the basis of this blog.

Teotihuacán
 Pyramid of the  Sun (click to see picture source)

Coordinates: 19°41′33″N 98°50′37.68″W

Add the length of  the perimeters of the four  triangles ABC, ADC, ABD and CDB.  Each one totals 2520′ ( 738 + 738 + 1044 = 2520) .  Four triangles = 10,080. Next, use pi as 22/7. A circle around diameter of length 10,080 = 31,680.

Mexican Sun Pyramid Parallels Plato’s Writings

Plato’s Ideal City uses the same numbers in his desciption of the Ideal City.  He states in Laws V: “(1) Mark off 5040 allotments. They must be cut in two so that “each contains a near piece and a distant piece- joining the piece next to the city with the piece furthest off.”. That totals 10,080 markings of land (5040 on each side of the radius). That equals the total of the sum of perimeters around the 4 triangles of the Sun Pyramid as described above.  A circle drawn around diameter 10,080 has a circumference of 31,680 . As 10,080 x 22/7 = 31,680. The co-incidence goes even further. John Michell explains defines the area of each of its 2520 pairs of rings. The combined area of each of the pairs is 31,680. Both the Mexican Sun Pyramid and the Ideal City use the same number tradition of prehistory.  I refer my reader to The City of Revelation by John Michell pgs. 84-86

Conclusion: At one time there existed a peaceful formula for civilization. Due to some kind of cataclysm, everything was destroyed.  This possibility is discussed by Immanuel Velikovsky (/ˌvɛliˈkɒfski/; Russian: Иммануи́л Велико́вский; IPA: [ɪmənʊˈil vʲɪlʲɪˈkofskʲɪj]; 10 June [O.S. 29 May] 1895 – 17 November 1979) He was a Russian-Jewish independent scholar best known as the author of a number of controversial books reinterpreting the events of ancient history, in particular the US bestseller Worlds in Collision published in 1950.[1] Earlier, he played a role in the founding of the Hebrew University of Jerusalem in Israel, and was a psychiatrist and psychoanalyst.

Conclusion: I think that ancient ruins hold lost knowledge. Uncovering and understanding what’s in these ruins provides possible pathway way to peace. I think we are approaching another Golden Age. How good is that?

Image result for picture of Book cover of John Michell's City of Revelation
John Michell quotes Plato’s Laws V which one of my sources for this blog.