yvilen

More as 2 millennium ago the notion of harmony was introduced in music together with many other important notions by Aristoxenos. By it he is author of most important observation that singing, that is reproduction of melody, differs from speech by that by singing its pitch alters not continuously but steppedly with temporal stops. Further he wrote that these pitches are retained by memory. Obviously this memorization fulfills very important function, which may be understand on basis of contemporary knowledges. As we know music tone includes root partial and harmonics which ratios to root frequency correspond natural row of numbers. Therefore the brain memorize not only pitch but row of pitches. If there are some perceptible coincidences of corresponding frequencies or small frequency differences between 2 tones with different pitches then switching melody from one pitch to another one is felt as smooth. But in practice, especially by primitive technologies the overlapping of melody tones and hence arising of unpleasant dissonances is possible. From the other hand if we build vertical structure with these 2 notes or more notes then such dissonances are all the more possible. Therefore there is situation when sets of valid intervals in chords and melody ( its single notes without accompaniment) are similar. . Obviously chords as totality of simultaneous tones must include melody tones too and if we consider music segments which correspond chords of chord progressions (ChP) then turn out that they may be considered as sets of melody notes and ChP as sets' progressions ( SP ). If these sets would be chosen from music scale so that may form most euphonious chords then emerge jut major and minor triads in close positions. Each such set forms melody framework which may be still supplied with passing notes. The chords as simultaneous tones is auxiliary means and can influence on important music sensations such as smoothness , dissonances and fundamental frequency. This point of view is natural as namely melody is inherent and main component of music. On the contrary chords and accordingly CP is simply good for certain history period method which in principle ( not always and often at big price by harmonization work) . Unnaturalness of chords' priority over melody in established music theory led to appearance in it far fetched things as consideration of successive single notes as chords. The result is that, for example cadences are considered via primitive chord diagrams which don't reflect music practice enough. Besides means to provide tension and relaxation are ascribed to harmony, that is chords. I like to think that good melody itself must create conditions for control over majority of their changes. By analysis of course melody notes in different types of cadences and in different devices for control over tensions one can see that melody in this cases have corresponding peculiarities, as repetitions, pauses, changes of temp, leaps, leading notes, syncopation. From the other hand, some means which work thank to dissonances and therefore generally ascribed to harmony as appoggiatura, anticipation, retardation, suspension demand in the same time definite courses of melody notes. I suppose that would be answers with objections and then I try to defend my point of view by more detailed consideration. Greetings Yuri Vilenkin

drink.mp3 shos-drink.mp3

Fashion is changeable. Another matter if it has roots in the music development. But here is important: the development may be compared with spiral in which old phenomena are repeated on new level. Greetngs Yuri Vilenkin

In common because of that always there is demand on new music works and as it is known demand gives rise to supply. By the way I have read that very little part of people who learn composition become composers. That must increase demand on composers. Greetings Yuri Vilenkin

I experiment with embodiment of fragments of different music works by proposed by me new structure of musical note (http://www.youngcomposers.com/forum/t33636/the-new-structure-of-muscal-note/). I can by it to apply pitches from 24 TET Scale freely. Because of that I took the interest to Arabic music works. In particular I experimented with work of Ahmed Abdul Malik "Farah Alaiyna". I observed that the composer introduced micro tonal notes from 24 TET scale mostly in final cadences in oder to obtain to receive quatertone interval between 2 last notes of melody. It is interesting how useful may be analogous apply of microtonal notes in occidental music. I presented below 2 variants of the work's mp3 files which correspond its first 8 measures which include final cadence in 8 bar. First variant has in final cadence quartertone melody interval and second- common haftone one. I myself doesn't feel essential difference. For some reason the second mp3 file isn't upoaded .I try that later. If nothing came again from the try to upload mp3 file there is link: http://home.arcor.de/yuri.vilenkin/fara-10sept-5-micro.mp3 Greetings Yuri Vilenkin fara-10sept-5.mp3

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It is possible in the case when the knowledge of the inside structure of the matter with which is operated almost or quite doesn't influence on the results. The use of the majority of music instruments is such one. The new structure of music note which I have proposed is definitely other case. Its use is realized by the computer program (see http://home.arcor.de/yuri.vilenkin/new-music-atoms.html ) I understand that people have little time to learn program instructions and anybody is difficult to make up his mind for that. Therefore I have attached links to several example mp3 files of created music segments in the category Electronic ( topic-Example mp3 files) . In any case I would be very grateful for comments. Greetings Yuri Vilenkin besam-14aug.mp3 donna-14aug.mp3 libiamo-14aug.mp3 santa-14aug.mp3 wagn-14aug.mp3

I want to present radical new structure of music note and acknowledge people to which it is interesting with results of its use already from the very beginning. In the music theory the note is considered as atom of music for which only to characteristic are obliged - pitch and duration. That makes notion of the musical note very blurred and determines descriptive character of music theory and its limited utility. In fact the the basis of west music is only one structure of musical note - harmonic, which mathematical model is harmonic row of frequencies. Up to relative recent times that was only possible structure with property of the pitch. But now computer music is able to create arbitrary structure of music note but,IMO, doesn't hurry with decisive steps in this direction( apparently it is chained by tenets of established music theory). I think that now is time to realize the opinion of Aristoxenus, who is founder of music theory, that music structures must orient on sensations of human ear. As one can now see these sensations are: - pitch sensations; - dissonances thank to presence of dissonance components; -sensation of smoothness thank to temporal ties between notes; -sensation of fundamental frequency (acknowledged ability to find missing fundamental ) Single harmonic notes are able to create sensations of desired pitch and fundamental frequency, but their ability to create other a.m. sensations is very limited and for this aim are used vertical conglomerations of notes - chords derived from practice ( J.Rameau wrote that his theory of chords and chord progressions is derived him from previous music practice.) Single harmonic notes are able to create sensations of desired pitch and fundamental frequency, but their ability to create other a.m. sensations is very limited and for this aim are used vertical conglomerations of notes - chords derived from practice ( J.Rameau wrote that his theory of chords and chord progressions is derived him from previous music practice.) Apparently, it is desirable to have such note structure by which single note were able to control a.m. sensations. The idea is to use as basis the structure of singing voice with singing formant, as such voice is valid to the good solo singing. There is informative article in Internet "Singing With An 'Open Throat': Vocal Tract Shaping - Singwise" on the site http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=VocalTractShaping&page=3. In it is said that voice with singing formant has 3 main sinusoidal frequency components -Root one which belongs to melody line; - Highest one which is namely singing formant, - middle one which (accordingly the author) permits alterate note's timbre. For the reason that bass notes very important in the music I introduced deep low frequency sinusoidal component ( I named it ostinato one) which has 2 functions in the given note structure:control over sensation of fundamental frequency and control over smoothness of music. The ostinato component is paricularly effective in second function as thank to cochlea construction in its deep bass area temporal ties are provided by greater ratios between frequencies of partials. Besides this ability of the ostinato partial is enhanced by computer program as its contour is formed by special transformation of melody line which diminishes frequency leaps. All 4 above ebcountered partials have additional partials near it in order to form with them controlled dissonances. Here is impossible to consider all details but at first real examples are important with which is possible to become acquainted on the site http://home.arcor.de/yuri.vilenkin/new-music-atoms.html. There is presented interactive program for active acquantence with new note structure. Now I have prepared the enhanced version, which has additional parameters for interactive alterations and possibility to use notes from 24 TET scale as well. I intend to expose it in the near future (when would be able to elaborate the instructon and site). Greetings Yuri Vilenkin

So it is happened that accidentally I shortly worked out the possible explanation for this question. This explanation may be derived from the J. Rameau’s text in his book "Traité de l'harmonie" and works of H.Helmholtz. The text is presented in the article "J. Rameau of the properties of harmonies ( http://theoryofmusic.wordpress.com/2007/11/27/jp-rameau-of-the-properties-of-harmonies-1722/). Rameau claims that main dissonances are placed in the soprano, that is, in melody, that they mustn't be put arbitrary and it is better to avoid dissonances than to set unnecessary ones without corresponding musical idea. In the Your example the note E in melody has strong dissonance with 3 harmonic of the tonic note C in bass register, that is, the strong dissonance is introduced with unknown aim. To regret music theory was busy ,in general, with invention of vague notions as consonance, perfect or imperfect consonance (all chords in some degree dissonant) , tonality etc. but not with analysis of music phenomena through doubtless elements of perception as dissonances. Good Day Yuri Vilenkin

Sorry, yesterday I mixed up texts and intended to send namely following: „The opinion is known that music theory was always able only to follow the actual music practice, somewhat systematize it ( for example to introduce necessary terminology) and to help the further practice in this way. With it the music practice depends from existing in its time music instruments. Rameau's activity was preceded by appearance and rather wide spreading of such such key instruments as harpsichord and clavichord which made possible wide use of chords and experiments with them. As Rameau wrote he generalized music practice of the preceding 40 years. So the things such as classification of chords on the basis of their fundamental notes and chord inversions, chord progressions were introduced by him for description of real practice and accordingly may be used for its instruction and for composition. The question was important how the new method efficient in comparison with other ones- methods of fundamental bass and counterpoint. In principle method of chord progressions fulfill same tasks-control over dissonances for providing euphony and providing bounds of frequency components of music signal from different time intervals. From the other hand its use is essential easier (simpler)s and the melody but not so called harmony is main in majority of music genres what emphasize the importance of convenience of the harmony tools use. Rameau's attempts to build a profound music theory with notions of naturalness of fundamental bass of the chord and of major and minor triads failed. It is possible to suppose that positive Rameau's role is limited by his conclusions from in his time known practice. Hardly his books are deserves careful study for many peoples today with exception of somebodies with very special interests. Besides according some references (see for example http://www.mariotrane.com/guitar_lessons_pages/rameau.html ) his main treatise is "bulky" and "often difficult, obscure and diffuse". And some more, Rameau discovered method of chord progressions not because that he was cleverer as a.g. Aristoxenus but thank to new technology of music production. Now computer technology can bring a crucial change in this realm and method of chord progressions might become irrelevant.“ Yuri Vilenkin

Rameau's letter is referred to time when he still struggled for his recognition and this letter is addressed to the influential man. Rameau tells that he posses good musical taste and he in some time (but for some time only) win high recognition as composer. He claims as well that he posses l knowledge about music nature more as other musicians. Apparently he told about his theory of harmony. Indeed, Rameau formed method of chord progressions as result of analysis of known music works. Nevertheless his interpretation wasn't ready for achievement of really good composition results although it was in fashion for long time. What was result? Famous Jean-Jacques Rousseau wrote: "The study of composition, which used to require about twenty years, now can be completed in a couple of months; musicians are devouring the theories of Rameau, and the number of students has multiplied. ... France has been inundated by bad music and bad musicians; everybody thinks he has understood the finesses of art before having learned as much as the rudiments; and everybody tries to invent new harmonies before having trained his ear to distinguish between right and wrong ones." Yuri Vilenkin

It is characteristic to attempts to improve established music theory that they lean on philosophy theories (J.Rameau, H.Riemann, P.Westergaard) or other analogous branches of science (e.g. linguistic as T.Suttcliff). Of course, it is not bad to draw ideas from other branches but that is made instead attraction of results about sound sensation from experimental sciences as physiology and psychology although amount of such results increases gradually. In principle music theorists always used the same method: parse of scores of famous music works. Clearly, this method is subjective and, naturally,.different theorists arrive to different theories, so H.Riemann considered chord progression as necessary part of music theory and H.Schenker didn't. In such way T.Suttclif saw in the same works static and dynamic harmonies. Most likely this observation is correct: initial simple part of music work determines system of coordinates for more complex following events. Thus introduction of static and dynamic harmonies may be contribution in the theory of chord progressions. However the chord progressions is method of composition which was derived by Rameau from preceding music practice and hence in this practice weren't used. Further, J.S.Bach and following most important composers Mozart, Beethoven, Brahms, Tchaikovski doesn't use it. Hence most eminent music works were created without this method. H.Schenker wrote in his work „Rameau or Beethoven“: „That is the extent of the conflict which existed between the masterwork and theory. In the former horizontal considerations predominated, while in the latter the vertical element was uppermost. Likewise in accordance with the will of Nature—as if art was destined to be led to an impasse—came the paralytic standstill of human mediocrity, as a curse of its perennially-inherent inclination to mechanize its very being. Instead of creating substance out of the live source of an idea, the average person absorbs ideas handed down to him only mechanistically.“ The method of chord progressions arose thank to developed since 14 century key music instruments but basis of these instrument was previous -mechanical oscillations of .elastic body or air pillar. Now the possibilities of technique are incomparable increased but music theory didn't altered essentially. I like to think that now is actual the creations of new composition methods which must combine simplicity to obtain good results and possibility to obtain distinguished ones. Such system must be based on scientific knowledges about music perception. Yuri Vilenkin