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FAMILIAR INFO IS MOST MEMORABLE, SO.... First I want to say this (mostly about editing) in the page above is incomplete. All the 5 Methods above are good ways to evolve your memory and skill, even so there is an essential element that I left out. Great ideas are about the music not just how to improve what you have on hand, you need to be in a ZONE. To learn how to achieve good powerful sounds you want to learn how to refine above all but the frame of your song needs to be inspired with Cosmic Zooms. A good way to achieve a great general idea to refine is by finding a song you like as on the radio and recording it with your improvs. If you know your instrument well from use of The 5 Methods with refinement with time, and how to improvise reasonably well or even more like with the 3 out of four method of evolution of the 5th Method, above, it's easy to improvise with the song on the radio as you record both. No doubt you have to find the key and other changes, but what's good about this is you can practice more than once on the same song you like before you start to refine your song of the improvisations by the other methods on this site. This method gives you both the general structure (you can make it your own by changing to another instrument than the song, ect.) and ways to make it more suprising in a sharp way, the life of your song, only however if both the general frame and the improvs then refined are used. Note that recording the improvs makes it so you can learn and memorize them more reliably and faster by the methods on the page above, using the point counterpoint "science" method. It's good to first record the song you like and record the improvs with the second copy of the original so you can often see where you got your idea for how to achieve the life of your flow of the sound as you listen to both you and the song. You're getting advice from other musicians without high dental costs! And you're learning what you think has value not a tune someone else likes at your own rate without boring lessons. A good way to generate more content from this is to find an unusual musical motif, just any motif, or a classic motif to improve, or one you've already created by random motion on good side of wherever you are ect. that's on the media. Build up lots of motifs, find your upmost move then
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COMBINE THEM In UNUSUAL WAYS, In OTHER WORDS FIND WHAT TWO UNCOMMON MOTIFS HAVE In COMMON. THIS IS COSMIC BECAUSE ALL IS A COMBINATION OF AT LEAST TWO MOTIFS, COMBINE THEM IN UNUSUAL WAYS AND YOU"LL ALWAYS HAVE A GOOD SUPRISE TO WIN WITH..
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To make it unusual think about where that part of the song is going, and where you would like it to go, and throw it in a comic sort of way to that conclusion, go to the next motif, find what's most definite and throw it, and so on. In a real sense a good song is a series of exclamations, start to finish, each about what was of worth in the motif before, this is the most change allowed because this is a strong way to make the tune live and life is motion. Note that this form is also about the general structure of all music, a question and answer! When you know a few great musicians and most of us have they will say that most music is actually real simple in outline even if it seems complex in details. Even while you do complex improvisations the trick here is to always keep your eye on where you are in the cycle, this both speeds up how fast you can write and play the tune it also is good for your memory to see more yet. As you hear the best tunes you like you have a better understanding you can then more often use in your own songs. When I was a teen I hoped to learn about comedy and was researching and found instead that trained memory tricks were hysterical, then to watching comedy shows like Hee Haw based on the simple idea of contradiction, good suprises! Once I understood the idea, it was easier to go in comic training, a sort of standup comic hopes to earn maximum wage! So too in great music there is this simple structure, like the thought the setup line and the punch line in comedy, or the setup the bluff and the answer in NCAA to the other person's move on the other team. The first part of the question and the answer is generally one of the more unusual notes and the answer goes to the more basic notes 1,3, 5, or minor to major ect. or complex to simple rhythm ect. Research shows that the classic tunes of all time have simpler structure than other songs. And when you' re learning from a teacher you learn these basic progressions that are in the question answer form. This trick will save you lots of time in search for good ideas for a song. Like my more general comics where I don't watch TV afternoons all AM because my own shows were even better often after years of labor to learn, so too you don't need other musicians ideas to be good or great if you realize this about the simple structure of your tunes. No copyright problems! Within this frame are then set up the random changes by learning my improvisations by the three out of four method (if I make a mistake three times right at least for any error when practicing with the other method of practicing of finding a good motif, thinking of methods to improve it and then testing it by question and answer like theory and experiment in science, good, bad, and then remember these structures by reps of the words for them multiplying up my memory in loops for the more definite realms of my tune) till I both have good structures and improvs. But these motifs of a good or great song aren't just any throws, I think they are of most worth when seen through the filter of the idea of what good or great is supposed to sound like, using the musical conventions your audience is presumed to know by research into the sounds you like to be like (and you think you'll eventually be able to achieve well) except using the ways of generating the right changes so the throws to change the conventions are all yours. I've researched other musicians songs for the general setups with audio instructors and this is especially good for all us in our youth, (Wish me well) and so strong and in the most health we'll ever be, don't tell mom, she'll amaze the boss! So this way you learn the rules fastest (by sound) and by the motif of throws like the above from the well established themes and motifs, and you can have your own sound of power. One good thing you'll find is that while the maximum is lots of exclamations, if you're just new or haven't been able to improve yet, using these Methods by slower and surer number crunching, you don't need to be real brilliant to do good sounds. All you need if no better is tunes with good definition and contrast. By this I mean if you find a good few good ideas and edit them up with some elaboration with each motif having definition, you don't have to be extremely good to be a real musician. There are all kinds of musicians on the radio who are just good not great. Say you have two classic motifs you've found at say the base and higher notes of your guitar by retuning and The Five methods. You don't need to be "brilliant" to make these a good song, all you need is to make them somewhat more complex and select out your goofs by the methods, and to be able to play the tune merely once for the recording. If you can do this and then edit a bit with the machine, you can add some effects like wow, echo, or higher speed, and cut out errors. As I say silly songs are of real worth if contrasted with moderately serious contrasting sounds. Obviously if you can't play a simpler song like this, you can't play a more advanced tune. No doubt being brilliant is better yet, a major inspirational turning point for me was when I realized that a relatively simple tune with contrasting sound and some elaboration sounds (especially at the right time) just as good as a "brilliant" tune I couldn't play well. And once you've learned say 10 of your songs well, you may be able to increase your brilliance by the foundation of these motifs if they are good. Think of a song of eventual triumph always. Music is not where you are good or bad because there is a vast range of levels of skill and depth, like the rich and the poor in money. Practice doesn't have to be great, but it's a ray of power to be great eventually. most are in the bourgeois real. You may get criticism from non musicians and little sympathy while you learn, but I think of the three r's, learn learn learn. Think of all sorts of musical motifs, like rewound notes, upside down notes, fast where slow, slow where fast, and consider combinations that lead up to the punch line that break no rules of music. You may say, "I can't do that" it's too complex. All learning is combinations of self taught and learned from the outside motifs however. If you practice and make effort to edit up on the machine you learn a lot from what you have already. So if one day you have trouble with part of your song, you can just rest and come back later and edit more, you'll be the clown of most TwirlaWhirls in the heat, and you'll win more in your audios with 12 cushy sign up speech softwares. I think of how I might edit up of more worth later, based on what's what and hope to see how it fits in. It's more one motif at a time than just when musicians think up what may be of worth and add it on the machine. If your edits are a bit bad, even if you don't win now for your labor it's inspiration worth good ways to improve your sound later. Edison's lab was in woe and he said we haven't had 22 failures, it's 55 triumphs of FM..
One truth about musical content is that you create it in unusual form, that is, any motif that takes usual notes or rhythms, and makes them unusual by contradiction. So you take a starting part of your phrase, and a second part and go between them in a way that's not as common musically so like comedy and most of the greatest creativity you have the thought, the line and (punch line) where the contradiction is. One of the best ways in music to make the contradiction is by a major note or note combination where a minor note would have been, generally you want more good suprises than bad.
One truth about musical content is that you create it in unusual form, that is, any motif that takes usual notes or rhythms, and makes them unusual by contradiction. So you take a starting part of your phrase, and a second part and go between them in a way that's not as common musically so like comedy and most of the greatest creativity you have the thought, the line and (punch line) where the contradiction is. One of the best ways in music to make the contradiction is by a major note or note combination where a minor note would have been, generally you want more good suprises than bad.
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HOW BUILD UP The REST of YOUR SONG...No doubt while the first few notes are important to catch the attention of your listener, and there are no unimportant notes so it's important to play all the notes while you practice or as many as you can, and count the time to fill in later, the finish often has considerably more import than the rest of the song, If you can't get it good like the rest of the song you already have in memory, one good thing to realize is to start with the end of your song and build around the good notes, the best ones (see the Post about how to know the good notes). Then build the rest of your song around this by dubbing and so on. Save the finish on another audio and then author the song and add the finish on by dubbing at the right zoom on the media. This is because, if you use up all the good notes if you're just in good health at 21 in Reno (and all songs are new to a good or great musician, if there was nothing to be savvy about anybody could be Top 40) there are not as many good notes to finish with and the tune would have to go on, a world without end. If you're just starting at music, to end your song is especially tough. A good way to remember the end notes if you have them partially edited and want to grab it out of the air is by listening to the rest of your tune you already edited, and finding the note or notes you've already used well, and then just using this motif to find the best to start the finish with, you can go through the rest of the song to find the best notes, mostly it's like the rest of the song it's like building up a construction, block by block, start to finish. There's no way to know how to make a great sound without going through and suprising you, you always will! So this about finding the good notes like most of the rest of the motifs, is just a way to speed you up and improve your power and depth, not a guarantee, for example, all these motifs would be worthless without labor by you and me. Most don't have to be great to learn, but they must learn to be a brain to be a good musician! The basic method for your skill like memory is to, try something, then test it, then adjust it till it has no error, then from this strong base, try something else, and repeat the testing and adjusting, with first creativity, then careful "proofreading", extending your way ahead to more and more of your song and this is especially true for how you finish up.
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In my college English the professor who was an author would say, "Learn the rules before you learn how to break them." While in creativity Da Vinci drew both the ugly and beautiful because he believed beauty is the opposite of ugliness so they are alike and if you learn about one you would learn about the other, if beauty and ugliness are the same truth and bogus would be the same so I did no research in what was ugly in creativity. I considered it both unkind to the poor ugly person and not of respect to being aware of right being of more power than wrong. Others say creativity is mostly just the addition of more of what's up in life and other action, this seems how to achieve a sort of basic level of skill and beauty, in a way it's just a list of good events. The more drama way to creativity has been to make a more controversial claim and then argue back to a more usual conclusion by way of many brilliant tricks.
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The problem with this is it's not an exact enough definition of how to be creative. A good way to learn creativity is with lots of practice on problems and solutions. I read this about the drama method to creativity in a book about rhetoric. A look on the web shows no other sites about rhetoric other than my own (click here for MY COMEDY MACHINE) or about comedy and rhetoric so no problem and solution motif like say learning whist with a machine or learning by what's named the Algebra Programmed method of much practice with problem and always the answer on the page in many small steps to build up to overpower the problems may be of worth. A good method to learn what the rules are is to find minor league people in the creativity biz and listen to enough examples of their songs to find out the error by contrasting it with higher creativity and then write this down and memorize the error, knowing not to use this in any of your tunes or other creativity. MP3s are of worth for this.
The problem with this is it's not an exact enough definition of how to be creative. A good way to learn creativity is with lots of practice on problems and solutions. I read this about the drama method to creativity in a book about rhetoric. A look on the web shows no other sites about rhetoric other than my own (click here for MY COMEDY MACHINE) or about comedy and rhetoric so no problem and solution motif like say learning whist with a machine or learning by what's named the Algebra Programmed method of much practice with problem and always the answer on the page in many small steps to build up to overpower the problems may be of worth. A good method to learn what the rules are is to find minor league people in the creativity biz and listen to enough examples of their songs to find out the error by contrasting it with higher creativity and then write this down and memorize the error, knowing not to use this in any of your tunes or other creativity. MP3s are of worth for this.
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This isn't the research about ugliness, mostly it's about creativity, by learning about say MP3's on a minor league site there's no need it be ugly, just in error of some type. It's alright because you're thinking of truth as of more worth, and if it's moderately bad you're not being bad to those you learn from. Sort of like going through a lawn sale searching for riches you might find in March.
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This isn't the research about ugliness, mostly it's about creativity, by learning about say MP3's on a minor league site there's no need it be ugly, just in error of some type. It's alright because you're thinking of truth as of more worth, and if it's moderately bad you're not being bad to those you learn from. Sort of like going through a lawn sale searching for riches you might find in March.
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This can be of worth to learn about music and other creativity. For example listening to one of my neighbors song collections she sold me cheap I learned it can be real bad to just use two chords for an hour. While two chords like for folk music may be alright if they're good, two chords are bad if they seem to try to go to good sounds and stay on the bad notes. But I wouldn't have known this by just listening to great songs, even though they often incorporate some of the errors in these songs, "There is no great beauty without also some error". I can afford no boat at these costs, lawn sail inside room!
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In my recent post about the truth of music, I explain why some sounds on the scale are more important and definite like consonants, and others are "rounder like vowels". You go in cycles from consonants to vowels and major and minor and repeat this over and over in the song with changes in rhythm and chords, all these for more random life, and the actual vowels and consonants and vowels and consonants you use with each cycle are random, changing the meaning and expectation ahead of your audience. This way it's not too boring like the same sound over and over, but not too random either because each "vowel or consonant" is in the general area where you expect it but without lots of so so... This may be the most import for content to understand and write music well because life is in motion.)
If there's no sign there's going to be better music on the flip side of the old world it's good to just skip through the song so you don't learn it if it's bad, this is a trick I learned with classical music, if the motif may be good, just not repeated 100 times I just record or listen for a few repeats and no more, likewise to not learn much about the minor leagues of music it's good to just get your feet wet and not listen to an error more than just for learning what to edit out of your own creativity. Even so I've learned definitely to sympathize with creative people like musicians, it's not easy to be original. We hear just the musicians who win on the radio and most will never be Top 40.
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In addition to my music, I'm good at drawing and other zooms Click Here On my other site my conclusion is a good picture is
In addition to my music, I'm good at drawing and other zooms Click Here On my other site my conclusion is a good picture is
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Drawn Well, And Sharp
Drawn Well, And Sharp
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Of an Unusual Concept or Motif
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Of an Unusual Concept or Motif
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and
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With The Full Range From Light to Umbra
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I got this conclusion by researching books with old time drawings I liked. I found the ones I liked the best and these three motifs are what the best drawings had in common. This is a positive constructive way to learn about creativity. Learning from creative errors is of worth because it's believed creativity isn't an actual sudden boost of light, many in the research about creativity believe it may be more alike a more continuous buildup to then overpower problems by the creative activities. In this belief Einstein wasn't just good at creativity he was a real good proofreader of science too, about physics what he left out of his science is of as much worth as what he left in. Thus finding out what not to do like with the music may be of real worth. When you learn about heat from the better weather sometimes, you're learning about how to create drama on demand, one of many tricks, and of real worth in life..
I got this conclusion by researching books with old time drawings I liked. I found the ones I liked the best and these three motifs are what the best drawings had in common. This is a positive constructive way to learn about creativity. Learning from creative errors is of worth because it's believed creativity isn't an actual sudden boost of light, many in the research about creativity believe it may be more alike a more continuous buildup to then overpower problems by the creative activities. In this belief Einstein wasn't just good at creativity he was a real good proofreader of science too, about physics what he left out of his science is of as much worth as what he left in. Thus finding out what not to do like with the music may be of real worth. When you learn about heat from the better weather sometimes, you're learning about how to create drama on demand, one of many tricks, and of real worth in life..
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