https://www.youtube.com/watch?v=MMiY99NveHk&lc=UgxW4YJK1prfpBAkN354AaABAg.9PcwESW8fkr9PdYs4EVooJ
is that a major third?
Perhaps from what I heard, yes on several notes of each song. Though basically, I am not actually a music theory expert and cannot review into pitches by their notes, so I cannot answer questions like these.
@Pigeon Project I camp out on land I 'Own" where a couple Veeries call to each other. They are the most exquisite sounds I've ever listened to - it's very blissful to listen. Thanks for the slow down recording. I know the Hermit Thrush uses the natural overtone series - so probably the same for the Veery. There are SECRETS to music theory based on "noncommutative phase." Most scientists do not even know about this. haha. thanks
Oh, interesting. Indeed it is, though I actually never lived to North America, where veeries live, so I never actually heard them out irl. No problem for the slowed down recording. Same for me as well, that can indeed count for the veery also. Never heard about the "noncommutative phase" tho, gonna check about it anyways, haha. 😁
@Pigeon Project I'm listening again. It is completely riveting in slow motion. Yes my view is that noncommutative phase is the secret of the Logos - I have writings on it. I see you are from UAE. Fascinating. I'm gonna research the Veery song more. I'll get back to you. thanks
So the Hermit Thrush sings in Pentatonic harmonics I think - meaning these are NATURAL overtones - not the Western tuning of course. This is why I LOVE listening to the Veeries so much.
Their song slowed down reminds of Bill Evans, one of my favorite Jazz pianists - he also emphasizes a parallel run of intervals. Not sure what they are - parallel fourths maybe.
Wow here is the ACTUAL VEERY song!!
This makes complete sense IF you understand noncommutative phase. The fundamental tone keeps changing infinitely as nonlocal consciousness.Sotorrio, however, said that since this minor triad is not built under
the fundamental (C) but under the fifth below (F), major and minor
tonalities cannot be said to grow out of this 'polarity'.
That's because the fifth below is NONcommutative phase....and therefore the NEW root tonic as the Perfect fourth above....
Sotorrio, José A (1997). Bilinear Music Notation –A New Notation System for the Modern Musician. Spectral. Music
Sotorrio, José A (2002). Tone Spectra -and the Natural Elements of Music. (1st Ed) Spectral Music, 2002.
WOW THIS GOT EDITED OUT OF WIKIPEDIA!!
In
addition, José Sotorrio showed that undertones could be made through
the use of a simple oscillator such as a tuning fork. If that oscillator
is gently forced to vibrate against a sheet of paper "it will naturally
make contact at various audible modes of vibration." Sotorrio explained
that since the tuning fork produces a sine tone, it will normally
vibrate at the fundamental frequency (e.g. 440 Hz), but "momentarily",
it will make contact only at every other oscillation (220 Hz), or at
every third oscillation (147 Hz), and so on. This produces audible
"subharmonic spectra", (e.g. below A@440 Hz (1/1), A@220 Hz (1/2), D@147 Hz(1/3), A@110 Hz(1/4), F@88 Hz(1/5),
and so on). Sotorrio claims it is possible to sustain these
"subspectra" using a sine wave generator through a speaker cone making
contact with a flexible (flappable) surface, and also on string
instruments "through skillful manipulation of the bow", but that this
rarely sustains noticeably beyond the "sub-octave or twelfth".
In 1868, Adolf von Thimus showed that an indication by a 1st-century Pythagorean, Nicomachus of Gerasa, taken up by Iamblichus
in the 4th century, and then worked out by von Thimus, revealed that
Pythagoras already had a diagram that could fill a page with
interlocking over- and undertone series.[16]
Kathleen Schlesinger pointed out, in 1939, that since the ancient Greek aulos, or reed-blown flute, had holes bored at equal distances, it must have produced a section of the undertone series.[14]
She said that this discovery not only cleared up many riddles about the
original Greek modes, but indicated that many ancient systems around
the world must have also been based on this principle.
Similarly, in 2006 G.H. Jackson suggested that the overtone and
undertone series must be seen as a real polarity, representing on the
one hand the outer "material world" and on the other, our subjective
"inner world".[19]
This view is largely based on the fact that the overtone series has
been accepted because it can be explained by materialistic science,
while the prevailing conviction about the undertone series is that it
can only be achieved by taking subjective experience seriously. For
instance, the minor triad is usually heard as sad, or at least pensive,
because humans habitually hear all chords as based from below. If
feelings are instead based on the high "fundamental" of an undertone
series, then descending into a minor triad is not felt as melancholy,
but rather as overcoming, conquering something. The overtones, by
contrast, are then felt as penetrating from outside. Using Rudolf Steiner’s work, Jackson traces the history of these two series, as well as the main other system created by the circle of fifths, and argues that in hidden form, the series are balanced out in Bach's harmony
I want to make healing music how would I tune instruments and such to be on healing tones
ReplyDeletehttp://soundingthedepths.blogspot.com/p/audio-visual-examples.html
DeleteThe Matrix ate my comment. haha
https://www.youtube.com/watch?v=JGVscjY2Ma8
DeleteSomeone doing a Veery analysis on youtube. haha. natural overtones