(see also post 271)
This is principle is an example of a principle where it is proved that the method of learning something is more important than the object ogf learning itself. It is also relevant to the concept of distributed cognition
Brilliant examples of musicians that play many musical instruments (from 5-6 to 10-12 musical instruments) is the Caling family. Ecah mamber of this family plays at least 5-6 musical instruments, and Gunhild Carling (https://www.gunhildcarling.net/)is playing 10-12 musical instruments.
Obviously this also proves that the method of learning many musical instruments is radically different from the traditional in Scolls of music and Universities.
And by this we do not mainly mean that the technique is different.
When learning a musical instruments five areas of the human subjectivity are involved
1) The sense of hearing
2) The sense of seing
3) The kineasthetics of the fingers (fingering) and/or the mouth (embouchure)
4) The feelings and emotinal percepton of the music
5) The mental images and intellectual perception of the music (musical ontology)
So when we say radically different method we mean that the combination of the previous 5 factors is radically different
The next are 6 principles that are involved in learning many musical instruments
1) Principle of learning as new self creation
2) Principle of least time of playing while learning
3) Principle of most easy method as far as the memory and practice of fingers/mouth is concerned
4) Principle of most smart intellectually perception of the learning material desired to learn
5) Principle of maximum pleasure while learning (so that serotonin and dopamine are created in the nervous system so as to have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)
6) Principle of optimal socialization of the process and result of the learning.
Under the above principles it is derived that for a musician that is playing many musical instruments it holds that
(see also post 275, 128)
FOR MUSIC:
2) At least one midi controller is used that can emulate all 3 generations of musical instruments (see post 329, chromatic, diatonic,overtones musical instruments) and helps to learn but also to conduct the music of all other musical instruments.
THE ADVANTAGES OF IMPROVISING A MELODY VERSUS PLAYING A MELODY
PLAYING THE MELODY
DISADVANTAGES: 1) No sufficient space to interpolate your own feelings parallel to the melody
2) Rigid stereotypic repetition , that the slightest deviation will cause the feeling of an "error" or "bad sound". This will create fear and will "slauter" the "wings" to add your own "signature" to the melody. It will stop also and suppress the ability to compose your own melodies.
ADVANTAGES: 1) You do not have to involve much of your emotions and creativity , after learning it it seems easier to repeat it each time and if the melody is played correctly it is expected by the audience to to appreciate it.
IMPROVISING THE MELODY:
ADVANTAGES:1) Plenty of free space to interpolate your own feelings parallel to the melody
2) No rigid stereotypic repetition , each time played it is somehow different . The randomness of the decorative notes of the improvisation allows for searching the appropriate melodic center that corresponds to the intended emotion or for gradual correcting till the melodic center of the original melody is found (in the scale stepwise glissando as default movements) This will create an euphoria of abundance of creativity and will multiply the ability to compose your own melodies in later times.
DISADVANTAGES: 1) It requires listening to your own mood (or the mood of the audience) when improvising the melody, and there is always the risk that the current version of the improvisation of the melody is not good enough compared maybe to previous improvisations or that the audience will not appreciate it enough as you appreciate it when your are improvising it.
IN OVER ALL IT IS OBVIOUS THAT IMPROVISING A MELODY IS BY FAR MORE ADVANTAGEOUS THAN JUST PLAYING THE MELODY.
FINALLY A VERY USEFULL TECHNIQUE TO HAVE UNIFIED CONCEPT AND SYSTEM OF MENTAL IMAGES WHEN YOU PLAY MANY MUSICAL INSTRUMENTS IS TO HAVE ISOMORPFC LAYOUTS OF NOTES ON THEM. E.G. TUNE THE STRING INSTRUMENTS BY OVERONES TUNINGS SYSTEM (EACH CHORD AN OVERTONE, AS SOMETOMES JONY MITCHELL HAS DONE WITH HER GUITAR) SO THAT THE STRING INSTRUMENTS HAVE ISOMORPHIC LAYOUTS OF NOTES WITH THE VALVED OR SLIDER BRASS INSTRUMENTS (TRUMPET, TROMBONE, HORNS ETC) SEE ALSO POST 329
This is principle is an example of a principle where it is proved that the method of learning something is more important than the object ogf learning itself. It is also relevant to the concept of distributed cognition
Brilliant examples of musicians that play many musical instruments (from 5-6 to 10-12 musical instruments) is the Caling family. Ecah mamber of this family plays at least 5-6 musical instruments, and Gunhild Carling (https://www.gunhildcarling.net/)is playing 10-12 musical instruments.
Obviously this also proves that the method of learning many musical instruments is radically different from the traditional in Scolls of music and Universities.
And by this we do not mainly mean that the technique is different.
When learning a musical instruments five areas of the human subjectivity are involved
1) The sense of hearing
2) The sense of seing
3) The kineasthetics of the fingers (fingering) and/or the mouth (embouchure)
4) The feelings and emotinal percepton of the music
5) The mental images and intellectual perception of the music (musical ontology)
So when we say radically different method we mean that the combination of the previous 5 factors is radically different
The next are 6 principles that are involved in learning many musical instruments
1) Principle of learning as new self creation
2) Principle of least time of playing while learning
3) Principle of most easy method as far as the memory and practice of fingers/mouth is concerned
4) Principle of most smart intellectually perception of the learning material desired to learn
5) Principle of maximum pleasure while learning (so that serotonin and dopamine are created in the nervous system so as to have the creation of nerve synapses that is the subconsious ability and memory and desire for more learning)
6) Principle of optimal socialization of the process and result of the learning.
Under the above principles it is derived that for a musician that is playing many musical instruments it holds that
(see also post 275, 128)
FOR MUSIC:
1) Each instrument is NOT used so as to play all possible melodies and songs. Instead it is used and it is learned only as far as this instrument is specializing to allow playing an area and type of music that with the other musical instruments is not done so easily , efficiently and desirebly. There are though among the many insyruments at least one wich can be used the musician to play all possible melodies or songs. But most of the many instruments is learned and played only in the area and specialization which is concidered best (e.g. a cello might be learned to play only bass lines at the 2nd octave and a Bb/F trombone, overtones improvisations only with 2nd overtone root , over a chromatic base 2nd octave Bb1-Bb2. See also post 332 about the esay mode of playing the brass winds, with a) independent vertical overtones large range melodic themes and b) independent horizontal by the slide short range melodic themes within a diatonic tetrachord )
2) At least one midi controller is used that can emulate all 3 generations of musical instruments (see post 329, chromatic, diatonic,overtones musical instruments) and helps to learn but also to conduct the music of all other musical instruments.
3) The musician is focusing in learning a repertoire of music and songs with its musical theoretical ontology rather, than particular instruments. Thus when learning and spent some hours per day or week we learn a new song, and we learn its harmony (chord progression) melody and parallel simplicial counter melody (bass lines) etc on many instruments one after the other rather than spending these hours on particular instrument. In this way the same hours spent for the musical ontology of a song (chords, melody, countermelody, bass lines, rhythm etc) will be used for learning more than one instruments, This reduces dramatically the memory and time spent in learning and shifts the subconcious memory to the abstract musical ontology rather than particular material particularities of the instrument which is more spiritual , and which memory and time is utilized for all instruments simulteneously. (see also post 271)
4) It is by far more efficient when learning to utilize improvisation rather than tedious practice excercizes from musical sheets, for many raesons. One is that the improvisation is forgiving in "mistakes" that turnout to be innovations in melodic improvisation. Another reason is that it activates more deeply the various nervous system centers that are relevant to the 5 subjectivity areas mentioned previously, therefore it is more thorough learning. Still another rason is that improvisation is more pleasant than tedious excercises of practing therefore we have more serotonine-dopamine inthe nervous system, which are utilized in creating new nerve synapses valuable in the subconcious memory and desire for more learning in the future.
THE ADVANTAGES OF IMPROVISING A MELODY VERSUS PLAYING A MELODY
PLAYING THE MELODY
DISADVANTAGES: 1) No sufficient space to interpolate your own feelings parallel to the melody
2) Rigid stereotypic repetition , that the slightest deviation will cause the feeling of an "error" or "bad sound". This will create fear and will "slauter" the "wings" to add your own "signature" to the melody. It will stop also and suppress the ability to compose your own melodies.
ADVANTAGES: 1) You do not have to involve much of your emotions and creativity , after learning it it seems easier to repeat it each time and if the melody is played correctly it is expected by the audience to to appreciate it.
IMPROVISING THE MELODY:
ADVANTAGES:1) Plenty of free space to interpolate your own feelings parallel to the melody
2) No rigid stereotypic repetition , each time played it is somehow different . The randomness of the decorative notes of the improvisation allows for searching the appropriate melodic center that corresponds to the intended emotion or for gradual correcting till the melodic center of the original melody is found (in the scale stepwise glissando as default movements) This will create an euphoria of abundance of creativity and will multiply the ability to compose your own melodies in later times.
DISADVANTAGES: 1) It requires listening to your own mood (or the mood of the audience) when improvising the melody, and there is always the risk that the current version of the improvisation of the melody is not good enough compared maybe to previous improvisations or that the audience will not appreciate it enough as you appreciate it when your are improvising it.
IN OVER ALL IT IS OBVIOUS THAT IMPROVISING A MELODY IS BY FAR MORE ADVANTAGEOUS THAN JUST PLAYING THE MELODY.
FINALLY A VERY USEFULL TECHNIQUE TO HAVE UNIFIED CONCEPT AND SYSTEM OF MENTAL IMAGES WHEN YOU PLAY MANY MUSICAL INSTRUMENTS IS TO HAVE ISOMORPFC LAYOUTS OF NOTES ON THEM. E.G. TUNE THE STRING INSTRUMENTS BY OVERONES TUNINGS SYSTEM (EACH CHORD AN OVERTONE, AS SOMETOMES JONY MITCHELL HAS DONE WITH HER GUITAR) SO THAT THE STRING INSTRUMENTS HAVE ISOMORPHIC LAYOUTS OF NOTES WITH THE VALVED OR SLIDER BRASS INSTRUMENTS (TRUMPET, TROMBONE, HORNS ETC) SEE ALSO POST 329
