336. HOW TO COMPOSE SONGS WITHIN THE CHROMATIC TONALITY

FOR THE CONCEPT OF CHROMATIC TONALITY SEE POST 263


As chords of the full chromatic tonality we will use the

1M 2m (and 2M) 3m (amd 3M7) 4M  5M (and 5m) 6m (and (6M7) 7d (and 7M7) 

We may conseive them also as a connected arc in the wheel by 4ths

7M-3M-6m-2m-5M-1M-4M  where some of them are turned from minor to major and vice versa

Full chromatic tonality means that we intent to utilize in the melody initially the 7 notes of the diatonic scale (tonality) but thenalso all the 12 notes (plus 5 additional blue or chromatic notes)


We assume that the song will have a sad part and session which is denoted by A and called couple because it will repeat before  the refrain, and a session part B called the refrain which is the happy part. So in a  minimal way it is A A B A A B.

The sad  couple part will have chords from the triad of minors  3m , 6m, 2m and the happy refrain part will have chords from the triad of majors 1M 4M 5M.

We may also use poetic lyrics that correspond to the  simple 2-parts structure AA B AA B. (in exceptional cases we may have a 3 parts structure AA B  C C B or A A B  A A C)

For the arrangment we will utilize

1) A beat by a percusrion organ (usially by a digital instrument) Usually a multiple of 60 bpm which is  the tempo of  calm heart,
2) The chord progression, where we must determine how many beats is each chord Usually 2 beats per chord if we have many chords or or 4 beats per chord if we use few only chords (e.g. played by the guitar or ukulele, or the digital instruments in the ipad toucscaper  , chordion etc)
3) A bass playing a simplicial submelody (e.g. by an acoustic bass, or a ukulele bass or a midi controller like  Artiphone, or Sylphyo, or warbl, or DM48 connected to  the sounds of the application thumpjam in the ipad)
4) The melody (played by a wind istrument , or by a Celtic harp, or by a midi controller as above connected to  the sounds of the Thumpjam in ipad)
5) Possibly a loop playing an arpeggiation from an arpeggiator (e.g. by the applications  arpeggionome , or Reason)

6) We record channel by channel the sessions in an appropriate recording software e.g. the simple audacity. The digital created sounds go directly to the recording application without using speakers and microphones, But the sound of the analogue instruments and especially the voice is recorded with a good quality microphone which is plagged in to a mixer (like focurite) before it enters the computer as a microphone signal. Inthe mixer goes also the signal of an electric guitar if we use one.
After the recording of each channel we make some corrections in volume, timing , pitch, or  apply filters high pass or low pass etc and we put effects like echo etc Finally we export the song in mp3 and wav sound file format.


Chromatic tonality can be very well conducted and played not only with chromatic string instruments like guitar, mandolin, ukulele, bouzouki but also with diatonic Celtic harps with levers which are used in real time as we play to create the 5 blue or chromatic notes in the chords or in the melody.  This is a common  practice in latib=n amrica diatobic harps too (colombia,  bolivia, Peru etc) 

So a simple method to compose a song is the next


0) We compose simulteneously the chord progression and the melodic themes. We use mainly melodic themes for pairs of chords or chord transitions. (rarely simple melodic themes within one only chord).


1)  The chord progression as polyphonic counter melody.

We must notice that the chord progression within the chromatic tonality need not be the simplest possible chord progression that accomoanies the melody .Thus  the chord progression simpler than the melody. It may be that the melody is much simpler than the chord progression.  The chord progression is an independent counterpoint polyphonic counter-melody that fits with the solo melody and not just accompanioe the solo melody. An example is the famous song of Louis Armstrong "What a wonderful world" which has very simple melody but rather complicatd chord progression , with chords that change over a constant solo note which does not change. The melody of this song is very simple around the melodic centers 1-(2-3) and (5-6) of the 7 notes of the diatonic scale.

https://www.youtube.com/watch?v=uBs82KnJllg

We must also notice that the concept of full chromatic tonality , in other words utilizing all 12 notes c of the chromatic scale, may occur in the chord progression not in the melody, while the melody is so simple that it may have even less notes than the default 7-notes diatonic scale.

2)   We start with melodic themes within one chord or a pair of chords which are not in the major triad of the default diatonic scale 1M 4M 5M , e.g. 2m or 3m or 3M or 6m or 7M or pairs (1M-2m)  (1M-6m), (3M-6m) , (4M-7d) , (3m-4M) , (5M-6m)  etc 

Notice that an intense oppositions song would start in the chords 2m, 3m ,3M 6m , 7d etc and end in the triad of majors (1M, 4M, 5M)  while a more soft song would start with pairs (X1,X2) with X1 in (2m, 3m, 3M, 6m ,7d) and X2 in (1M, 4M, 5M ) 


3) And  then in the happy part  of the song shift to the triad of majors (1M, 4M, 5M). 


4) In the melody we translate the melodic themes of one or pair of chords to the next or we invert them. More rarely we mutate them or rotate them (meaning that we entirely change their rhythmic and pitch order structure which is termed in this book as Dolphin word structure) we may utilize the application Dot melody and Fugue machine. 


As alternative and even simpler method we start 

1) With start with melodies in one chord or pair of chords in the triad of majors 1M 4M 5M and we substitute one only chord each time with its corresponding lower relative minor or even the same root major hord converted to minor (e.g. instaed of 5M the 5m etc)  Notice that this stanrd corespondence of majors to minor preserves the chord-transition relations of  being chromatic, or harmonic. Therefore inside the parts-sessions A and B we deal mainly with chord transitions in chromatic and harmonic relations which means short (2nds) steps in the melody or large (4ths and 5ths) while moving from part=session a to B and vice versa mainly with chord-relations transitions of the melodic relation  (intervals of 3rds).   Thus at first and within a single part-session A or B for the melody we only have to decide where we will have shorts steps (intervals of 2nds) and where long steps (intervals of 4ths-5ths) and the rest will follow from the prediceded structure of the songs , and transition from part-session A to B and vice-versa

From the emotional point o view: 
1) chromatic transition=short step in melody (2nds) =just a necessary change in emotion in higher or lower pitch
2)Harmonic transition: large step in the melody (4ths-5ths)= a resolution of tension 
3)Melodic transition: middle step in melody (3rds)= Shift from minor(sad) to major(joy) or vice veesa

2) and also we modify the melodic theme. This is the couple (sad) A part, 


3) Then we return to the happy refrain B part in the (1M, 4M, 5M) or in the  ( 3M, 6M, 2M)   or in the (7M, 3M, 6M).

Here we use of course the idea  of  harmony based on a connected arc of 6 , 7 or even 8 chords in the cycle of 5ths, with mutations from major to minor on it and the involved multi tonality and chromatic tonality .

The concept of chromatic tonality is to enhance the melodiy from the 7 notes of a diatonic scale to the 12 notes of the chromatic.
The concept of multi tonality can do the same but it is done usally here by shifting from the initial diatonic scale e.g. C major here to the A major and E major (notice that the relative chords in melodic relation of the root C major chord is the Am and Em) . All these three major scales are included as triads of major chords in an a connected arc of  7 or 8 chords in the cycle of 5ths (or 4ths). And in particular they are the triads 3M-6M-2M (6 major) and 7M-3M-6M (3 major).

E.g. A characteristoc example is a well known tarditional song Brazilian song  in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the  more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m  occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.

We must also notice that in such a  connected arc of chords not only the harmonic relation of chords occurs (chords a 5th or 4th apart) but also the melodic and chromatic relation of chords occurs.

The corresponding psychological feelings are

1) Harmonic relation of chords=resolution and nice shift of the melodic theme by a 4th or 5th
2) Melodic relation of chords=ususlly a transition of a major chord to same root minor or upper or lower relative minor , thus a mutation of a happy feeling to a sad and vice versa
3) Chromatic relation of chords=translation of the same feeling a semitone or tone higher or lower



All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.

The connected arc of chords in the wheel of 4th or 5yh as we said contains pairs of chirds chromatically or melodically related.

We dicsuss also 2 simple methods of how at  the melody in a  diatonic scale we may enhance it from the 7 notes of the diatonic scale to the 12 notes of the chromatic scale (This is called full chromatic tonality see post 263)   which is a usual nice feeling of completness.

A) The first method is to conceive the full pentatonic scale of the chromatic or blue notes 5b 6b 7b 2b 3b and utilize its two main chords 5b major (=5b-7b-2b) and 5bsus2 (=5b-6b-2b)as chromatic transition 4M 5bM 5M and 4M 5bsus2 5M then  the 3b minor (=3b-5b-7b) as chromatic transition 2m 2bm 3m . This will give all the 5 blue or chromatic notes of the 7-notes of the diatonic scale

B) The 2nd method is to involve the transition ofthe involved natural minor to harmonic minor and double harmonic minor and thus convert the chords 2m 3m , 6m , 7d to 2M, 3M7, 6M7 and 7M7 which again will give all the 5 blue notes 5b 6b 7b 2b 3b

E.g. A characteristoc example is a well known tarditional song Brazilian song  in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the  more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m  occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.

All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.

As we mentioned in the full chromatic tonality the major chords 1M 4M 5M may turn to minor chords

1m, 4m, 5m and good ways to do it are the next 1) we may turn the 4M to 4m as invesions of the resulotion 1M->4M, thus 1M-4M->4m->1M (see also post 29) . Similarly the 1M to 1m atthe inversion of the resolution 5M->1M->1m->5M. Finally the 5M is turned to 5m in agood way if we temporarily shift to the 7b major diatonic scale which will  turn the 5M to 5m (as 6m in 7b major) and also turn the 1M to 1m (as 2m in 7b major).

Examples of chord progressions  in chromatic tonality in Portugues guitar folk music (E.g. Jorge Fontes )

1) 

triad of major chords=5M 1M 4M

cycle of chords with minors=1M-4m-7bm

2) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6M-2m-(5M)

3) 

triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1M-4m

4) 

triad of major chords=5M 1M 4M

cycle of chords with minors=5M-1m-4m

5) 

triad of major chords=5M 1M 4M

cycle of chords with minors=2M-5m

6) 

triad of major chords=5M 1M 4M

cycle of chords with minors=3M-6m-2m

7) The 5) and 6) together

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=7M7-3M-6m-2m (double harmonic minor)

2nd triad of majors  7M7-3M7-6M       (shifts in the upper relative major scale) 

2nd cycle of chords with minors=4#M7-7m (as if harmonic minor in in   2 major scale) 

8) 

triad of major chords=5M 1M 4M

cycle of chords with minors=6m-2m-5M

9) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=3M-6m-2m

2nd triad of major chords=7M7 3M7 6M  (upper relative major scale) 

2nd cycle of chords with minors=4#m-7m-3M-6M

10) 

1st triad of major chords=5M 1M 4M

1st cycle of chords with minors=1M-4m-7bm

2nd cycle of chords with minors=2M-5m

In order to create the melody ove sucha  cycle of chords we may proceed as follows.

1)We compose 2 or 3  simplicial sub-melodies one for each part of the song ,  with one note per chord, over the cycle of chords preferably at a chromatic sequence ascending and descending . 

2) We create moves or waves for each note of the simplicial sub-melody by sequencing during the chord with two types of notes a fast (usually outside the chord) and a slow of double duration on the notes of the chord again ascending or descending with smaller waves

3) We arrange a continuous sound instrument to play the simplicial sub-melody only and a discrete sound (guitar mandolin etc) to play the full waves melody.

335. TWO SIMPLE METHODS TO ENHANCE MELODIES FROM THE 7 NOTES OF THE DIATONIC SCALE TO THE 12 NOTES OF THE CHROMATIC SCALE IN MULTI TONALITY AND CHROMATIC TONALITY

Here we dicsuss 2 simple methods of how at  the melody in a  diatonic scale we may enhance it from the 7 notes of the diatonic scale to the 12 notes of the chromatic scale (This is called full chromatic tonality see post 263)   which is a usual nice feeling of completness.

A) The first method is to conceive the full pentatonic scale of the chromatic or blue notes 5b 6b 7b 2b 3b and utilize its two main chords 5b major (=5b-7b-2b) and 5bsus2 (=5b-6b-2b)as chromatic transition 4M 5bM 5M and 4M 5bsus2 5M then  the 3b minor (=3b-5b-7b) as chromatic transition 2m 2bm 3m . This will give all the 5 blue or chromatic notes of the 7-notes of the diatonic scale

B) The 2nd method is to involve the transition ofthe involved natural minor to harmonic minor and double harmonic minor and thus convert the chords 2m 3m , 6m , 7d to 2M, 3M7, 6M7 and 7M7 which again will give all the 5 blue notes 5b 6b 7b 2b 3b

E.g. A characteristoc example is a well known tarditional song Brazilian song  in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the  more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m  occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.

All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.

334. THE BEST SIMPLE CONCEPT FOR COMPLICATED HARMONIES IN MULTI TONALITY AND CHROMATIC TONALITY

Here we discuss the idea  of  harmony based on a connected arc of 6 , 7 or even 8 chords in the cycle of 5ths, with mutations from major to minor on it and the involved multi tonality and chromatic tonality .

The concept of chromatic tonality is to enhance the melodiy from the 7 notes of a diatonic scale to the 12 notes of the chromatic.
The concept of multi tonality can do the same but it is done usally here by shifting from the initial diatonic scale e.g. C major here to the A major and E major (notice that the relative chords in melodic relation of the root C major chord is the Am and Em) . All these three major scales are included as triads of major chords in an a connected arc of  7 or 8 chords in the cycle of 5ths (or 4ths). And in particular they are the triads 3M-6M-2M (6 major) and 7M-3M-6M (3 major).

E.g. A characteristoc example is a well known tarditional song Brazilian song  in G major with the arc of chords F#7-B7-Em-Am-D7-G7-C , or in the G major diatonic 7M7-3M7-6m-2m-5M7-1M7-4M where in the refrain from the  more sad to more happy part of the song, the Em (6m) becomes E7 (6M7) and the Am (2m) becomes A (2M) . When from the sad part of the song (3M7-6m-2m) it goes to the happy part with triad of majors 1M7-4M-5M7 , the song it falls the 4M to 4m (to do so the common pair of relative chords 2m-4M is inverted to 2M-4m) which also gives it the chance to translate to 3m (which so far it was 3M7) and thus all 12 chords 7M7-3m7-6m-2m-5M7-1M7-4M and 7M7-3M7-6M-2M-5M7-1M7-4m  occur in the song which also gives all 12 notes in the melody when starting with only the 7 notes.

We must also notice that in such a  connected arc of chords not only the harmonic relation of chords occurs (chords a 5th or 4th apart) but also the melodic and chromatic relation of chords occurs.

The corresponding psychological feelings are

1) Harmonic relation of chords=resolution and nice shift of the melodic theme by a 4th or 5th
2) Melodic relation of chords=ususlly a transition of a major chord to same root minor or upper or lower relative minor , thus a mutation of a happy feeling to a sad and vice versa
3) Chromatic relation of chords=translation of the same feeling a semitone or tone higher or lower



All the above techniques are very common in harmonies and melodies of Gypsy Jazz , Latin Jazz, traditional Brazilian music etc.

The connected arc of chords in the wheel of 4th or 5yh as we said contains pairs of chirds chromatically or melodically related.

So a simple method to compose a song is  to start with melodic themes within one chord or a pair of chords which are not in the major triad of the default diatonic scale 1M 4M 5M , e.g. 2m or 3m or 3M or 6m or 7M or pairs (1M-2m)  (1M-6m), (3M-6m) , (4M-7d) , (3m-4M) , (5M-6m)  etc Notice that a intense oppositions song would start in the chords 2m, 3m ,3M 6m , 7d etc and end in the triad of majors (1M, 4M, 5M)  while a more soft song would start with pairs (X1,X2) with X1 in (2m, 3m, 3M, 6m ,7d) and X2 in (1M, 4M, 5M ) and and then in the happy part  of the song shift to the triad of majors (1M, 4M, 5M). In the melody we translate the melodic themes of one or pair of chords to the next or we invert them. As alternative and even simpler method we start with melodies in one chord or pair of chords in the triad of majors 1M 4M 5M and we substitute one only chord each time with its corresponding lower relative minor or even the same root major hord converted to minor (e.g. instaed of 5M the 5m etc)  and also we modify the melodic theme. This is the couple (sad) part, Then we return to the happy refrain part in the (1M, 4M, 5M) or in the  ( 3M, 6M, 2M)   or in the (7M, 3M, 6M).

As we mentioned in the full chromatic tonality the major chords 1M 4M 5M may turn to minor chords

1m, 4m, 5m and good ways to do it are the next 1) we may turn the 4M to 4m as invesions of the resulotion 1M->4M, thus 1M-4M->4m->1M (see also post 29) . Similarly the 1M to 1m atthe inversion of the resolution 5M->1M->1m->5M. Finally the 5M is turned to 5m in agood way if we temporarily shift to the 7b major diatonic scale which will  turn the 5M to 5m (as 6m in 7b major) and also turn the 1M to 1m (as 2m in 7b major).

333. THE LIFT-UP OF THE PLANETARY CIVILIZATION'S FRQUENCY, THE LIFT-UP OF THE HUMAN BODY FRQUENCY PEACE OF MIND AND SOUL GETTING IN THE "FLOW" AND THE ROLE OF APPROPRIATE MUSIC FOR THIS

332. THE EASY MODE OF PLAYING THE BRASS WINDS FOR SIMPLICIAL COUNTER MELODIES AND BASS LINES.. BRASS WINDS AND THE GUITAR OVERTONES TUNING

The EASY MODE of the brass wind instruments consists of

A) Independent improvisational (mainly overtones arpeggios) large range melodic themes across the overtones scale created solely by the embouchure (at any particular constant and fixed level of the trombone slide , or horn valve combination).  We call it independent vertical overtones harmonic melodic lines or overtones arpeggios (overtones vibes). The very design of the brass instruments is based on the ability to play many overtones. IF WE DO NOT UTILIZED THIS CHARACTERISTIC OF THE BRASS INSTRUMENTS (AS OVERTONES ARPEGGIATORS OF ROOTS ON A CHROMATIC INTERVAL OF A 5TH ) WE MAY AS WELL SAY THAT WE MISUTILIZE THEM. Only chromatic melodic lines are by far easier in other types of winds that use only the 1st 2 overtones (clarinet, flute, saxohone, cornett etc) . If we would utilize mainly only chromatic melodic lines then the optimal design of function of the  brass instruments should be more or less like a brass cornett with holes (diantonic instrument) and not valves. 

An example of two such overtones scales are when the roots are an interval of 4th apart e.g. one at root ofthe instrument and one 5 semitones lower either by the valves or by the slide. (E.g. For a trumber or trombone  it would be the power and/or major chord over Bb3 and the power amd/pr major chord over F3.)

B) Independent improvisational  short range melodic themes within a diatonic tetrachord which is inside an interval of 4th across  the slide positions of the trombone  (or valve combinations of the trumpet ) and at a constant and fixed overtone level of the Embouchure.  We call it independent horizontal chromatic melodic lines (chromatic vibes).

In other words brass instruments are particular easier to such 2 different types of independent improvisations (overones and chromatic vibes) AND NOT for any type of melody at all as e.g. the piano, the guitar or a flute are appropriate for ! 

If we want to understand it better for those that they play the guitar here is the analogy

We assume that the 6-string guitar has an overtones tuning with root at Bb2 and overtones 2nd 3rd, 4th, 5th, 6th and 8th. In notes they are Bb2-F3-Bb3-D4-F4-Bb4.  Thus the strings from the lower pitch to to the higher pitch correspond to the root overtones notes of the (baritone) horn created solely by the embouchure.

Then the chromatic notes between the overtones of theBrass wind created by the slide or valves at anyparticular overtone level correspond to the notes v=created by the frets in thsi guitar.

So we have the correspondance

STRINGS<--->BRASS OVERONES GENEATED BY THE EMOUCHURE ONLY
FRETS<--->  SLIDE OR VALVES GENERATED NOTES

Under this isomorphic layout correspondance the Easy Mode of playing the Brass winds as defined above by A) and B) corresponds in this guitar in
A) Playing among the 6 strings but always in the same fret (Overtones arpeggios themes)
B) Playing across a single string, and on all frets (Chromatic lines)

We must not forget of course the  exceptional properties of Brass instruments compared to flutes with fipple or not and to single or double reeds like clarinets, oboe etc.

In the latter wings it is mainly  the action of the fingers that determine the pitch and the frequency of the mouthpiece follows after almost automatic resonation.

But in the brass winds where the lips produce the sound it is the converse: The main factor of pitch determination is the Lips buzz control of the player, and then the action of the fingers, at the valves or at the (trombone) slide has more or less to follow and not opose it . If it flows it we have resonating notes which are of high volume and the brass modules highly the color buzz sound.  If the fingers donot follow fast enough or with sufficient precisioon the pitch of the Lips buzz we have nono-resonating notes that are of lower volume and of color closer to the human Lips buzz. In less than 50% of the case we may have the converse follow up (the finger actions change the lips buzz frequency). Thus we may say that the player plays his lips buzz with the help of the instrument, and not vice versa as in flutes.  This means that there is much indeterminacy of the Lipz buzz pitch relative to the length of the tube determined by the fingers on the valves or slide. And this indeterminancy is much higher that what is e.g. in the large double reeds (after the lips pressure) in armenian duduks , which are considered difficult to play excatly because of it. Obviously also the barss are much more difficult to play that e.g. a 6-string guitar in overtones tuning excatly because of the possible indeterminancy and nono-resonation notes of  the lips buzz in the embouchure.

Therefore even the easy mode of the brass winds as described above, does not circumvent the embouchure difficulties of the playing.  It olly circumvent  the finger actions complexities for a diatonic scale. 

331. THE ONLY 3 SCALES IN MUSIC

THE SCALES IN MUSIC ARE TRULY ONLY 3:

(Here we shift the meaning of the term scale.....)


A) The scale of the musical experience on the existential individual level. It is healing, it changes the emotions and therefore the habits of thoughts. It also includes ultrasounds from the bodies of the musicianswe do not hear and define how the musician experience the  music that he is playing .


B) The scale of the musical experience of the small group that plays and sings music (2-20 people) Creates deep subconscious bonds either for sadness or for joy. It also includes ultrasounds from the bodies of the members of the group that we do not hear.

C) The scale of the musical experience of the very large audience in society through the internet or recorded media . Does not include ultrasound of the bodies. But it continues to act on emotions and sets standards for us to feel, perceive and think.

330. THE PRINCIPLE OF OPTIMAL SPECIALIZED PARTIAL USING AND PLAYING OF MUSICAL INSTRUMENTS FOR THOSE THAT PLAY MANY MUSICAL INSTRUMENTS

(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:

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