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#3184590 01/12/22 05:20 PM
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Can anyone refute my simple music theory that the structure of most all music relies on a flow between two fundamental sound domains.

Two contrasting and complementary sound domains exist because the seven primary sound pitches align in two different groups of harmonically compatible pitch. The 1, 3, 5, & 7 pitches naturally harmonize with each other forming a unique sound group. The 2, 4, 6, & 1, pitches naturally harmonize with each other forming a second unique sound group. Notes of one group generally do not harmonize with notes of the other group, although there are several vital exceptions.

Movement between the two sound domains is essential for creating expression, transition, and resolution in the musical form. All commonly used chord progressions flow between the two
domains. We can hear the dual presence in any type of music from pop to classical, without it we’d hear a kind of monotone.

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I don't even understand this. Probably because English isn't my first language. Can you elaborate?


Free music scores for beginners and somewhat more advanced: https://composer.rowy.net/
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Hello Rowy: Thank you for responding to my writing on a new music theory. I will try to elaborate. Listening to the seven primary sound pitches, we can hear that the 1, 3, 5, and 7 pitches sound good together, compatible, harmonious, because of something that is agreeable in their sound wavelength / vibration speed. Also, the 1, 2, 4, and 6 pitches have the same harmonious relationship. Because of this pitch compatibility, we have chords made of notes that sound good together, like the one chord made of the 1, 3, 5 pitches, or the two chord made of the 2, 4, 6 pitches, the three chord made of the 3, 5, and 7 pitches, and etc. But if we make a chord with the 4 and 7 pitches, or the 4 and 3 pitches, or the 2 and 3 pitches, it will sound bad because the sound wavelengths are not agreeable so they do not create harmony. Thus, we have two basic groups, or two domains of sound that form the structure of most any music. The two groups of four notes each can be considered as two primary scales (tetratonic scales) which represent the two sound domains.

Another way of considering it is that these two scales also derive a unique set of chords for each sound domain, explained: each of the primary pitches is the basis for a three note (triad) chord; of those the 1, 3, and 5 chords share an ascending pattern of two common notes, giving them all a related and similar sound forming a distinct chord group. The 2, 4, and 6 chords also share an ascending pattern of two common notes, giving them all a related and similar sound which forms a second distinct chord group. These two chord groups serve to form two separate, contrasting, and yet complementary sound domains.

Rowy, this is not easy for me to explain, I try to make it simple and understandable, but finding the right words is a challenge and I continue to work on finding the best way to explain it. Thank you for pushing me to explain it in more understandable terms, if, to some degree, I have. I would appreciate any thoughts from you.Will Caldwell

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Originally Posted by Will Caldwell
Listening to the seven primary sound pitches, we can hear that the 1, 3, 5, and 7 pitches sound good together, compatible, harmonious, because of something that is agreeable in their sound wavelength / vibration speed. Also, the 1, 2, 4, and 6 pitches have the same harmonious relationship. Because of this pitch compatibility, we have chords made of notes that sound good together, like the one chord made of the 1, 3, 5 pitches, or the two chord made of the 2, 4, 6 pitches, the three chord made of the 3, 5, and 7 pitches, and etc.

You probably know the sequence of overtones. In this series, the most prominent notes are the octave, a pure fifth, a major third, and a minor seventh. If you find 1, 3, 5 and 7 sounding harmonious together, I assume you are referring to this series, which fits nicely in a major scale. It is V7, a dominant seventh chord.

You seem to attach equal harmonic value to 2, 4, 6, 1. But in a major scale, the third (2 - 4) is minor. Maybe you mean that these tones together also form a nice sound, but then we are talking about a personal preference, not really suitable for a scientific approach.

I understand now what you mean, but I have the feeling that you are trying to develop a new theory, while you lack sufficient knowledge of the old theory. You did study harmony? I'm not trying to belittle you, but I'm still a bit in the dark here.


Free music scores for beginners and somewhat more advanced: https://composer.rowy.net/
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Hi Rowy; Thank you very much again for responding to my music ideas, your thoughts are quite valuable to me.
I took some time to look at your website; it is an excellent resource and I intend to use it. I enjoyed watching your video about Brabant, it looks very beautiful, and I like your music.

You said, ”I have the feeling that you are trying to develop a new theory, while you lack sufficient knowledge of the old theory”. You are justified to say that, but I believe my naïve approach is a valid asset, let me explain.
I have had a 45 year professional career as a visual arts painter with gallery exhibits in all eleven western US states. My first artist hero was your countryman Van Gogh, known for following his own creative impulse without traditional formulas. We artists of today have all been academically encouraged to explore our own new ideas free of any old formats that might spoil our creativity. My new music theory is intentionally simplistic and objectively free from old theory, with hopes it may have value to open minded people who just want to improvise music for personal expression, without reading notes, and not for being a concert performer.

You asked me if I have studied harmony. I am quite familiar with tonal “functional harmony”, tonic, sub-dominate, dominate, and etc. My personal preference for harmony is when improvised melodic arpeggios are played over a very limited chord format, such as I hear in Chopin’s “Berceuse”, Erik Satie’s “Gymnopedies”, or Bill Evans’s “Peace Piece". When I refer to the harmony I hear between notes in chords, major or minor is not as issue, if they sound good it is because they are in harmony, if they are “diminished” or discordant they sound bad, not in harmony.

Rowy, can you consider my idea of two “tetratonic” scales,…the 1, 3, 5, 7 pitches as one all harmonious scale, and the 2, 4, 6, 1 pitches as another all harmonious scale. (can it be compared to the pentatonic scale ?) And consider the 1, 3, 5 group of chords that all sound similar because of shared notes mostly of the 1, 3, 5, 7 scale. And the 2, 4, 6 chords that all sound similar because of a pattern of shared notes mostly of the 2, 4, 6, 1 scale. It seems to me this demonstrates the existance of two basic sound domains from which music is structured at the fundamental level.

By creating a flow between these two scales, a beginner piano player can combine chords and corresponding melodic notes from anywhere on the scale to improvise favorite songs, or just freely improvise without a known melody. I demonstrate this playing piano on my website, www.piano-improv.com

I also live in a beautiful forested mountain location, it is America’s first and most loved ski resort, Sun Valley, Idaho. We have a very big summer symphony concert season here,
also, I have founded and produced another summer concert season of popular and jazz music since 1999.
I have 4 children and 7 grand kids. I, like you, ride my bike, ski, etc.

Rowy, any thoughts or criticisms from you about my ideas
Is very helpful to me. I hope we can keep talking if you care to and have the time.
Thank you very much, Will Caldwell

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Hi Will. I'm trying to understand what exactly you mean. It's not easy, because I have to translate everything you write. Music notes however are universal. Why don't you write a short piece down? A composition based on your theory. That would make things much clearer.


Free music scores for beginners and somewhat more advanced: https://composer.rowy.net/
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Hi Rowy; Yes I understand you, translating my long written words is not easy. I will do as you suggest. I don't write music, but I will describe a piece of improvised music based on using the structure of Chopin's "Berceuse Op 58 as it was changed by Bill Evan's to fit his "Peace Piece".
I will send you something at your email. thank you, Will Caldwell


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