Do you hear that odd, high pitched sound
in or around your ears? What to know
what it might be?
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sound@numberharmonics.com
VIDEO
INTRODUCTION:
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Do you hear that odd, high pitched sound
in or around your ears? What to know
what it might be? VIDEO
INTRODUCTION:
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Arnold Schoenberg
Of particular note is the fact that Schoenberg founded what is now the Berklee School of Music, but his principles and theories are not accredited nor taught within that institution. What is not known is that his variations and use of the "Tone Map" are strikingly similar to some of the techniques employed by Number Harmonics, which are derived from Ancient Pythagorean Techniques. Perhaps it only goes to show that there is nothing new under the Sun. Links to some of the Schoenberg Techniques and background
http://en.wikipedia.org/wiki/Arnold_Schoenberg In all the theory we see highlighted in the above links the essential contradiction in current Music Theory to the application of the Full 12 Tone Scale as used by the Ancient Greeks. The entire notion of Sharps and Flats is in effect a monstrous convolution of common sense that was invented by theorists to get around the Catholic Church BANNING the use of what is now the "black" keys on a piano. Because all Music by the Reformation was noted as "A" to "G" putting back the banned notes (Which were banned because "Devil Chords" could be created from them) Instead of a concept of "sharp" or "Flat" the Greeks simple NUMBERED music notation from One to Twelve. This made Modes and Scalar theory incredibly simple. Each Mode and variation was accessible by anyone who could count, because each "pattern" of music followed a mathematical order. EG: The "C" Scale went:
To Play a Minor 3rd simply meant COUNTING a different way
This was never recorded or written down as conventional music notation, rather the words to a song would have a number written at the top, which indicated the KEY, and variations would have a number written at points against the words which indicated VARIATIONS. If FOUR was written at the top, musicians automatically knew the piece was in the Key of "C". Following on, a number, or a letter, would be used to describe the note around which the next section of the song would be based. If it was in the Key of FOUR (C) when a SEVEN was noted, they knew this was a Minor Variation in this part of the song. All Greek Music was IMPROVISED, but the musicians knew the scales and variations according to the numbers written against the words. Below is an extant copy of a Greek Song written on Papyrus, discovered in Egypt
This is a link to an
extraordinary site for Ancient Greek Music Notation.
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