Come and join our community. Expand your network and get to know new people!Join us now, it's free!
Hi, I realize this probably isn't the forum for this, but I just wanted to say hello! I got interested in the Schillinger System several years ago, but I just now ordered the books, Volume I and II. From what I hear, they're pretty dense, so I thought I'd join the society to have a community to share with and learn from as I start this endeavor.
Several years ago, I started taking a free class on Thursdays for the Schillinger System, but I ended up having to work Thursdays. Anyways, now I'm studying music full time as a pianist, composer, and violinist at Berklee College of Music Online. We just started to get to the part in my Music Business 101 class about the founding of Berklee College of Music, originally called the Schillinger House. Anyways, it looks like this forum isn't wildly active, but I see there are some people that come on here from time to time. Looking forward to meeting you!
here's a three-note (dominant sevenths with missing fifths) exercise - it's been modified to stay in position by going down instead of up, every fourth chord (play from low to high)
E Bb C - F A Eb - Ab Bb D - G Db Eb - Gb Ab C - F Cb Db - Gb Bb Fb - A B D# - E G# D - G A C# - F# C D - G B F
roots here are raised to give 7b9, as diminished triads:
E Bb Db - Gb A Eb - Ab B D - G Db E - Gb A C - F Cb D - G Bb Fb - A C D# - F G# D - G Bb C# - F# C Eb - Ab B F
raised again to give dominant ninth, no root, no fifth:
E Bb D - G A Eb - Ab C D - G Db F - Gb Bb C - F Cb Eb - Ab Bb Fb - A Db D# - Gb G# D - G B C# - F# C E - A B F
and again for 7#9:
E Bb D# - G# A Eb - Ab C# D - G Db F# - Gb B C - F Cb E - A Bb Fb - A D D# - G G# D - G C C# - F# C F - Bb B F
forgive the enharmonic spellings
any major dude
the major triad has, as its interval structure, all of the classically defined "consonant" intervals:
examples on A major
a minor third between the third and fifth (C# up to E)
a major third between the root and third (A up to C#)
a perfect fourth between the fifth and root (E up to A)
a perfect fifth between the root and fifth (A up to E)
a minor sixth between the third and root (C# up to A)
a major sixth between the fifth and third (E up to C#)
play on the instrument of your choice, one at a time, each of the above intervals. if you wish, transpose to other keys.
harmony (guitar and piano) players play the following voicings; everyone else, please arpeggiate:
the 43 dimensional space squid told me that i should be able to play ALL of these voicings/arpeggios/inversions/melodic fragments in all keys. the space squid was not amused by my complaining that twelve keys was too many***
***aren't you glad there aren't 43 keys?
some of what follows has been changed to observe the actuality that there 43 distinct tetrads available within the twelve-tone system:
actually, i am willing to entertain the thought of a 43 dimensional space squid not only to see where it leads - what i can learn from the thought experiment, but because the visualization of this (imaginary?) creature was the funniest damn thing in my day! thanks, m!
let me allow the 43 dimensional space squid to posit that the strongest musical event given by harmonic theory is the manifestation, either melodically or harmonically, of the major triad in all its inversions:
let us experiment with the following chord progression, either melodically (as arpeggios) or harmonically (as chords):
A F/A D/A
and let us know what, if anything, you've discovered...
perhaps phil will let me know if this is acceptable. i haven't seen much activity in the forum for a while and it is a distinct possibility that there has been none. i have noticed that the participants here at schillinger society are incredibly open minded and i probably don't have to remind anyone that as far as internet bulletin boards go, this is so terribly often not the case. i wish to rejuvenate or otherwise jump start some dialog and i'm going to use some verbatim posts from, ahem, somewhere else. further, i will use only material written by me. this first tidbit is from the tail end of a very long argument regarding george russell's lydian chromatic concept, hence the lydian references. there is nothing musical - yet. i wish to provide a wee bit of history so that i can develop some ideas, hopefully some we can all apply out there in "the world of men (and women) and machines." please be patient as i sift through some material that dates back to 2007. this is a direct quote (by me) and thus a bit out of context:
i am breaking a vow of silence to respond to philoxenos, as well as to see, as an experiment in web mechanics, whether or not a thread that i initiate will either:
1) be of interest to anyone at all, other than me,
2) become as voluminous as the maj7b5 thread that hasn't brought up that topic in a very long time,
3) die a horrible death due to either a complete lack of interest, or perhaps even the perception that i am now and have always been, full of crap, or finally,
4) be exposed as a cheap ploy to convince philoxenos to send me a musical bow.
the rules for this thread are simple. i will post anything i want. whimsy or deep discourse. fact or fantasy. warm fuzzies or cold clammies. hugs and kisses or slappy fights. anything at all. the rules are subject to change without notice and grievances may be submitted to the complaint form which expired yesterday. the premise for this thread began with what i thought was a brief but to the point response which, without any forethought whatsoever from me, was perceived as humour:
Quote Originally Posted by philoxenos View Post
My third nomination for best humour (With A Deeper Meaning) goes to Db for this witty post.
Do I sense a note of maj7b5 derision???!!!???
the following post may be strewn with obfuscation, contradiction, irony, sarcasm, downright lies, and other literary devices that i never learned in school:
ya know philoxenos,
i've been using this image of drunken kittens as a tool for my students to learn Key Signatures and the Cycle of Doom for many years now. one of my students told it to me twenty years ago. i've never used it myself, since i memorized the key sigs and their relationships in the circle long before simply by writing down the major scales in as many ways as i could think of, including the manner in which clifford spoke of, and staring at the results.
although any likeness of lydian derivation is purely coincidental and without conscious intent, the fact that you noticed it within moments of my posting it may be an indication of:
1) that i've gone quite mad, as i don't even recognize the subliminal influence of my own observations on my other observations,
2) that the "stacked fifths" explanation for vertical tonal gravity is so fundamental to basic musical principles that we've all been staring at it for all this time and haven't recognized it for what it is, or what it appears to be,
3) that we've both gone quite mad, as anyone who starts thinking like me is definitely a candidate for some intensive psychotherapy, or perhaps simply:
4) i am a complete lydiot.
but seriously though, more basic to the fundamental point you were making, key signatures are related to the circle of fifths. to what extent this has deeper meaning, i prefer not to speculate for several reasons. for one, i do not wish to expose myself to more public scrutiny than absolutely necessary at this time. but chiefly because the crumbs are laid out all over the table for all to see and it has come to my attention that it is all a matter of perspective. if you see a cloud go by, one person says it looks like an angel, another says, "it looks like a spleen", and yet to another, its a frog.
and yes, i am most certainly being evasive, as all i am willing to do at this moment is show you the crumbs. and i would never refer you, philoxenos, to a therapist, since i am quite sure that you've got it together far more than i could ever hope for. thanks for the nomination philoxenos!
it is without hesitation that i claim to be a "champion" of george russell's ideas. such as the LCC. anyone who believes that i study nothing else is mistaken. i believe that music mirrors life itself, therefore i may bring up what little i know about classical music, gregorian chant, art, mathematics, science, particle physics, philosophy, aviation, astronomy, astrology, metaphysics, religion, (okay, i'll stay away from politics), and whatever else i think may help make my point about what this forum is all about:
and by the way, all music. purism is intolerable to me. let me close by saying that i do not believe that anything can be proved scientifically about music other than that two measures of 2/4 time equals four beats, and even THAT may be torn down by an honest assessment of our assumptions. i do, however, wish to stay within the twelve-tone domain, since i do not currently own any musical instruments that are well suited to microtonality. shall we begin???
Sounds like a great show!
Developed by Dr. Wiggins, The Music Within system illustrates the purity and simplicity of Improvisational Truths learned in childhood. Followed by...
To elaborate on what I got out of tonight's class. A density unit is a number of stratta (or parts, or frequencies) lasting a certain duration of time units. A delta is a group of density units. A theta is an arrangement of density units (delta) taken from a linear arrangement to a vertical level, within the boundries of the highest density unit's value. Easier to see visually in graph form.