Even Middle Part II - Reversed Effect

A frame of harmony is possible to hold mutiple lines.

When I thought about using a typical top selling solo into a structure, I had questioned the rhythmic meaning when striking every beat , and  to construct the whole lot on a typical striking pop rhythm.

In such case the solo should just take the lead. I believe it could be intepretated simply as regular pulse so as  to handle such repeat .

• A common pulses that vibrates through all melodic lines , like what we hear in fugue of Bach. So no matter how many lines it has,  we need to give rhythmic meaning in order to carry all parts.

• Or we may just do it seperately, let the solo fit in the market value, and handle the rest extractedly and seperately as another whole.

I here stress again, the solo part should be top selling pop, for job of clothing, and we should focus on polish the rest .

Contrast and Unity

However when add together,  I suggest here we simply, and deliberately produce the sound of both top and bottom in 1/2 to 1/4  portion of volume, so as to deliberately showing the solo part in dominance. Such production may also directly through sound recording.

In live rehearsal, it's necessary for the accompanists to rehearse together seperately, without solo , in order to see the layers and parts very clearly. However, once a soloist joint in the practice, they should just MUTE themselves .

Then the whole of rest design, may just sound like frills around the solo, but not too clear, like those in a fugue, with properly and only  pulse remained, or simply with solo dominance and lead, if varied patterns exists.

You will find it's  eventually a budget saving strategy for production, if we do dedicated in making the whole rest awesome.

A deliberately reversed art effect is the key here. One will understand its timely value one day.

The following pictures of bridge explains such art effect.

This picture was also prepared by Mick , while he had hidden his new experimental works this time, after studying the "Well -tempered Clavier "

The first is a picture of volcano without reverse effect - it's almost too dark to see, and the second is a picture of city with reverse art effect to create an erupting volcano, that seems to be erupting may happen any time beyond your will.

Even Middle Part I - frame sostenuto

Following the introduction, I hope we so far are able to understand the need to maintain  harmony with market .

Let's well structure hot pop elements into perfect harmonic frame . I eventually it's an architecture very hard to improvise. In fact, an improvised device may be easily explosive.

Sa Video

A confined structure suggested in study of Jewish folk and Tang Poetry, has refined elements effectively with musical meaning. Yet, in this construction, you may not necessarily follow this principle all through, as it is to be mathematically simple at certain stage of structuring.



Here , let me firstly cover some basics for the starter, and the advanced learner may just have exemption on this lesson.

1> Harmonic frame

Basic chords :

                   I   II   III  IV  V  VI  VII     represent the sequence on scales
C major:     C  D   E    F   G   A    B


D major:         I    II   III    IV  V   VI   VII
                      D   E    #F   G   A    B   #C


When talking about function of harmony in different keys, the sequence means the note a chord build up on.

Here the basic functional chords in every scales , I, IV, and V.

I   :  chord build on the 1st note of each scale , C major : C, E, G;    D major : D ,#F , A
IV:  4th chord of each scale ,    C major :  F, A, C;        D major : G,  B,  D
V :  5th chord of each scale  ,   C major :  G , B, D   ;    D major : A, #C,  E

Regular pattern of harmonic progression in music are:

I-V,    I- IV- V,                                     Phrase stop at V, are used in middle of music.
I-V-I,   I- IV-I  ,  I- IV-V- I                  I , used as conclusion of music.


We classify the chords according to its harmonic function:
group of  I :   I
group of  IV : II, IV, VI
group of  V :  III, V, VII

Order of V-IV is very unusual, so sound unnatural:

Example : The song started in D major, with a second instrument tuned in G major. Where is the odd effect from?

According to D major, this progression is

(D)I-  (accidental natural C) flat VII  -  IV(G).  

VII( V function)- IV,  is impossible in D major .

If we count as in G major then :

(D)V - (C) IV- (G)I , 

As you can see it's a totally reversed procession. A half  G chord, in B(3rd) and D(5th), was in between of D and C, but isn't functional, as it didn't stand on the root( G missing ), so is a D11-13 chord in nature , instead of a G chord.

This explanation is on the nature of chords decided by root note, often on bass instrument.

If we must tell where the odd we heard is from,  this is the theoretical explanation.


As a matter of fact, guitarists and keyboard do have  natural advantage of harmonic sense. In the other hand, despite the theory may still sound complicated immediately, a natural sense has already been in most of people without their awareness. If you are following the study however unable to reach so far instantly, I do suggest you have patience on even the very first little step.



2> Position

A second principle of harmony, is the even middle note , in between the higher and the lower.

Baroque music has inspired  fresh and experimental compositions , including those  inspired by Violin Partita . In fact, to create a powerhouse of  3 dimension architectural spaces with , or even one single instrument, no one else could teach better than J.S. Bach.
 
Harmonic study is often a pure mathematics(count and calculate) study with paper and pens,  based on theory first, then heard next. But we understand it with hearing and discerning, and test.

For example
 
In G :  
 
I:  b, d, G(root)  - V: a,  D(root),  f sharp  - I:.  G(root),  d,  b
 
As in the example of I- V-I ,  traditional harmonic principle is the middle note kept even ,here all in D. Or generally the closest note .
 
1> You will see it forms three separate melodic lines.
 
2> For the advanced you can see the same chord on G with different positions, when middle note kept even, reverse the top and bottom is possible, and bring totally different sense of space.

With such knowledge, one is able to explore in a wider choices of spacial and expressional design, after hearing the difference.
 
Further, the significance of studying the open(wider) chords, is to construct the architectural space of Baroque style and the secret acoustic powerhouse with a single instrument, simply aware the possibility of your instrumental range, and put into use in full.
 
With such understanding, we will be able to develop unlimited possibility by applying the principle , keeping the frame tight by maintaining the midst even, while developing a huge space above and below.
 
This structure is what I believe putting multiple lines in one unity, especially in those fugue pieces, however each within confined or narrower , but fully characterstic range of notes.

Here is an example for possibility of layers , created by variations of melodic lines.Yet we should not be restricted by the style of music.

Pachelbel's Canon - an useful indicator is the dog racing sign:)

Through this example, people may understand the unlimited melodic possibility based on very primitive harmonic lines.  And how in the end all the lines functioning in one unity , to understand the importance of harmonic structure.


3>  Setting hot pop in the middle
 
Understand the function of the frame, then we can handle the middle part. Link these note together, in whatever the form, as the melody has already existed, just to meet a top selling standard is much easier than you thought of.  Have this in mind, lots songs are written with repeated notes, and this is not problem at all, just need change before getting bored.
 
Please please listen to more top selling songs!!!
 
Then the next is to handle your part both above and below.

In fact, here I find, if we start from composing the middle part, our imagination is somewhat very limited for the rest. So I suggest, an initial idea of musical content, or the basic expression of the music to come first as a whole.

Even Middle Part III - Add Commercial

So although this part maybe first to be taught in this particular topic, most people may find it easier to start reversely, from their composed pieces.
 
There's lots possibility, as each of them can both suggest a melody or rhythm . But with the harmonic frame, it's much easier to put all together.
 
I have no restriction on the rest apart from the frame, and that the middle part should be heard first!!
 
In fact, when midst solo is dominant now- it should be left for further clothing- job of celebrity, and we then should  focus on handle the rest parts and polish it!!
 
In fact, at this stage I would only suggest the spirits to sound fully,  as they were invisible , even though the polish  has to been taken dedicatedly : solo must be heard first.


 

standard midst solo + polished top and below

 

is contrast and unity.

 

In this painting you can see : It is those legs of elephant that makes such dreamlike magic of Salvador Dali, or they would be just ancient.

Mick's Awesome New Work

Mick's Awesome New Work

I have heard an afterlife composition from Mick on the basis of this theory, it's awesome. There're points I can demonstrate it was Mick that composed this music

1> The whole guitar was tuned deliberately half note lower.

Apparently it's idea from tuning an Chinese instrument- Gu Zheng- most western will not have clue, - the instrument was tuned in a fixed single scale.

It was under "Well Tempered Clavier", showing full understanding of the pattern.

2> The deliberate use of howling voice , contrasted with a female voice by man.

I thought we could handle any material , and thought of using the howling material for a meaningfully unique piece. At the time I suggest that , separate piece of him sounds really well, but that energy may need change for a collection of pieces, or it may be too heavily drained or become dull for audience. Yet, Mick has his own style, I would not ask him to be as emotional as Jonah, or he's losing his character. He should maintain that solid energy and square design. When I asked what did he thought, I saw a picture of a solid black car with shining lines of lights for contrast. Yes, I said that's the right aesthetics for him.

A female like male voice was part of a radio teaching room, also included in a very special novel recording the process.  Such using two usual vocal is of great original value. As they have contrast in timber acoustically, for the music content, represent both uncontrollable fear and lingering hesitance in a relationship of man, like two poles of philosophy in a real life event- it was effectivel refined , abstract and symbolic, yet well delivered.

In this particular structure, such contrast of different range create a bold rocky space of sound.

3> An Egyptian tune
This was something I was interested, yet  they had not finished before death.


4>  Variations of a simple tune in the bass line

The main theme was eventually submerged in the variations, so as to avoid  the pattern from being spotted. It could be a life saving strategy.

Each variations is of well meaning.

5> The powerhouse using only one instrument .

The music used one guitar and one vocal for very rich energy in a much broader architecture.  Refined, well defined original ideas in each part.

Typical Micky rock energy. Awesome rock music, also sounds very experimental , yet well meaning.

Yet, after a short gut he had hidden himself away.

Our currently communication through thoughts without sound. No one knows my thoughts better than spirits. It was an example, but it's currently hidden away by him. Yet this is fully orchestrated and realised by him with brilliant talent.

At this point I had no further suggestion to this version , it's just awesome.

Even Middle Part III - Add Commercial

When talking about an architecture, it could be a very tiring thing.

So I try to explain it also in a reverse sequence, as I meant we take the harmonic principle to open a broad dimension of layers from principles of Baroque style powerhouse.

However , if it does become too complicated, may in the other hand kill the creation of people, I don't really meant a strict fugue is definitely what we are looking for as a rule.

You see in fashion industry, the ancient one could become somewhat very new for now, yet, what's popular last year, may quickly out of fashion , with too many imitation.

So a trend of one single style, is not what I meant, however meaningful character is trully within possibility of reach, if people feel freely and can express freely.

Yet, often we see a commercial barrier in expression through business production, sometimes this commercial barrier exists in legal system- it's a terrible and shocking effect.

So if you are not in to a powerhouse, of course you may choose to have narrower accoustic, then at least add one thing- the commercial! However, I could explain how we can add such Top Selling elements to any compositions, so that it will meet standard instantly.

Just figure out the structure of harmony,  and work out the middle notes, mathmetically, without instrument, but with only pen and papper. Then the next is to easily convert the highlighted middle line into a typical top pop song, matching all its elements.

Then the next apply the strategy in mix. Simple is that : Intentionally increase the volume of pop solo, and decrease volume of the rest.

It should be immediately sound like a totally different piece, without too many revisions.

If a solo melody already exists, make it into a sub melody with less volume at portion of  1/2 to 1/4  , as frills, lingering around the new one, with its original shape hardly seen. Just replace its dominance by a typical top pop solo.

In such strcuture we can apply everything in, including what I mentioned before in my part education.


late at the start; so far ahead
TV commercial film for Volkswagen "Snow Plow"
beetle commercial: a true story!
Archeological beetle commercial
odyssey
Bargain


If you find your situation can't be solved with any of Even Middle Part choices I, II, or III, then you simply need to look at the only option at the end of our last topic.


These are the four patterns I recommend at current stage for people engaged in such unusual circumstance of music business production.

Even Middle Part - Introduction

In this world, to trade for publishing, ironically, is to eliminate characteristic lines of a composition, in order to be less competitive and musically valuable to match standard of certain definite celebrity figure. - A direct by product of envy.

Bass, more ironically , is factually excluded  from my composition lock-in content,  but is tailored for specific composer to characterise them, which have NO influence on performance of singers.

We have to rethink such unjust criticism by some singer with their overweening pride. Namely, Sa Ding Ding in her special interest with her pointing finger, however unable to reproduce the original as her own composition.

Here, I do suggest a review on specific legal documentation by the Crown on this particular issue, to avoid  the dignity of the monarch from being unjustly damage by excessive and illegal operation of an unauthorised third party. As this case is related with Prerogative Right of The Crown . (The particular content is at page 8 of this doc. ), in relation to the ligitimacy of Sa Ding Ding's operation in the contract of Mick Fisher.


The Brief