HOW YOU KNEW YOU WERE WISE ABOUT What Will Now Be Top 40 On The RADIO!
. By the above motifs you can make your own great improvements from your own or other's tunes. For another's song if they're bad enough you can change them so much you no longer violate copyright, by many of the motifs of this page. But what about good tunes that can't be better? In some tales like the blonds in their own moon launch going to the sun in the shade so their hair stays yellow, this is one of THE jokes for blonds going to the sun, like the invention of authorship so too there are many songs so classic they can't be much improved, so I can't make them completely your own song, if it's better than I am I try to learn from it. There is worth of these songs, There's Solid Gold in them thar Yells! You can learn how to make your own giant song by learning what all the best songs you like and are much savvy about have in common e.g. songs you knew as a kid or you liked on the radio 10 years ago. I used to say about like a tune on the radio, how is it it's a great or bad song, how do I know and feel it's so definitely a huge hit and yet I have no idea just how I am so wise, smart, and perceptive about it? A good motif I use is via "memori-sing" them by number (like by a standard) and finding what they all have in common about logic.
It might seem if you hear all these tunes on the radio, you'd have to study 20 instruments 100 years (2000 BC's worth) to learn just what was so good or bad about them so you can learn how. The good news is you can number the notes 1 to 7, find the main (1st) on the scale of each tune, and just use this scale for all your study of the songs, so you don't have to learn all the keys or instruments, to learn the great motifs of most worth, which will deepen and broaden all the rest of your research and improvisation about it with depth, this will boost learning an instrument. The reason you just need 2 ways a major and a minor to learn the explanation of many songs is because all the notes on the scale are relative, you can play the same song in any of the 12 major and 12 minor keys and while the way you play it on the instrument is different, it sounds just the same. All I need to research the AM/FM fame well is a radio, a heat pump, a power station, and the ability to find the most important note on the C scale, C. Then by counting up from this or other numbers one is already aware about, a shortcut to also learn about the "how you always wondered how knew you were so right about that tune" side of sound is achieved. Often the number to find from which number is the note the song starts or ends on, in the more advanced and subtle songs it almost always or often starts and ends on either the (C) note (1), 3, or 5, (like C, E and G in the key of C) and More Good News is that these numbers are of most worth in almost any song major or minor. How can there be so much meaning in just these notes? The same could be said of the three hues in visuals or the base 10, but there are almost unlimited numbers and songs-I find more and more each month! This is achieved by combining them in classic ways with the other notes, 2 4, 6, and 7. 1, 3 and 5 have always been known to musicians to have the most "good sound" or 1, 5, and 3 in order of worth.
The physics of sound is the source, the best notes are where the sound is transmitted with the most perception, being I think thus related to our survival in evolution, to know what was going on around us. No doubt they are the notes with whole ratios of the sound waves per second so this could make them travel in the air with more boost to our survival.
The 5th note has the second level of worth both major and minor after number 1 and then the 3rd note has the third level. The more undefined notes in all songs are the 2nd, the 4th, the 6th and the 7th (just before the highest or 8th). When you go to these more undefined notes in a major song, it's "unresolved" in a sort of way that can either be major or minor, depending on where the song goes. For example, with a minor scale the 5th note is also a "sad" or bad note of second level minor worth (second to the minor keynote, the first note of the minor scale in minor power). If on a second level major number (2, 4, 6. or 7) and you seem to go to a major finish and instead you go to a change that would be so it would be major or minor like to 5 (it's the same without flat in either major or minor scales.)5 is of strong worth on both, if the author like Shaniah uses the second level note of reduced power to twirl it to the minor notes and then back to the more major by another use of the second level major (notes (6, 2 4, and 7) she's created more suspense, it makes it more worth a Million on Yahoo for the listener to say where the song will go and this adds life to the tune (and 3/4 to our life if she's not Shyer and is Shaniah!). Essentially, the most important notes are of worth for strong definition of both the major and minor, and the more undefined notes are used to mediate them, since by the lack of definition, these second level notes allow it to go either way. They also have meaning of their own and absorb meaning by the notes nearby, i.e. just as a deep hue in a great painting influences the hues beside it, 6 being beside the important note 5, is drawn to it, the listener expects it's more of worth for the song to go to 5, and -1 and 2 both being beside the keynote, both expect the song to go there.
I liken the notes 1, 3, and 5 to consonants in speech, and 2, 4, 6 and 7, to vowels. The 1, 5 and 3 are more definite power notes because you hear them better, but by changing the vowels you can change the meaning of the word by more subtle changes. This is why while a basic tune would have the 1, 3, and 5, a more advanced musician may use the other notes more to modulate the tune more in balance. This is of real worth for depth where you relate the high notes with the low, or to and returning from minor to major fast because you have both the extremes and the balance with more of your moderate notes to give more exact shading to your highs and lows. This is like a painting where you have the extreme "good" hues like metallic green or metallic blue you then balance in with your moderate hues as in the picture of the lamp or the Got Milk mouser on my own link for visions Click Here.
This about the scale like consonants and vowels lends itself to an important way to invent your own songs, a way that's one of the foundations of music. First you find the general questions and answer notes, the question can be unobvious starting more on a more indefinite note, the answer tends to be more definite at the end of each cycle and most definite at the end of the song. You generally go from the vowel to the consonants and then to other vowels and then to the other consonant, with each following from the one before, but with constant change by picking random unobvious vowels or consonant notes in the song (in the general area where some vowel or consonant would go in the vowel consonant cycles) and then changing the following consonants of vowels to fit the change to multiply up the randomness that is still not breaking any law of music. This is so your listener isn't bored with too much either of the usual obvious stuff with the definition notes or random music with no cohesion. How do some musicians come up with so much music from the notes you see? To generate life and randomness, with each go round from vowel to consonant to vowel, they pick more unusual vowels somewhere else on the scale, and they pick unusual consonants.. Each change throws the listener to the next suprise, and it also tells you how to write the song because you start to expect this cycle of vowel consonant vowel, even if at high speed, and you learn how to set up, sort of like a comic, a combination of common musical motifs, that lead to a real sort of musician's answer. And because the consonant vowel alternation is the general way, you can set up more gradiations in your consonant or vowel notes to make it not so black and white sounding. This idea of having the strong framework of consonant vowel alternation makes more sharp balance of your meaning so you can be in higher sound resolution. Once your song as you create it has the main notes you can add in the more inbetween sounds which are often the most of worth because you can improve resolution a lot more with both balance and gradiation. Once you know this trick about "consonants and vowels" you can better understand other's music, and you boost your own sounds you learn deeper and remember at higher speed.
You look at ads or other visions with lots of saturation, one way this is achieved is using the definition hues and then adding in the more light shades to balance the extremes with light. While Van Gough said to "avoid the obvious" his hues were extreme and good with the inbetween hues well painted, so my belief in art, life, and creativity is to avoid the obvious but be strong and good too, go about being strong and good in nonobvious ways.
This is one of the main things that makes many of the pop songs you hear on the radio much higher power than the songs like Mozart, you have more major and minor notes in rapid change and balanced well by many of the second notes like 2 4, 6 and 7 so more sharp instead of staying major for a half hour then minor for another. And the rhythm is often both more complex and more rhythmic and regular in general (in cycles).
When you start counting out a few of your classic songs you're in for a good suprise! (While you won't have to learn a lot of instruments, you can only pick just a few songs and build them up gradually because there are far too many to learn well but once you learn what they often have in common (by this or a machine for musicians that would be a radio that would light up the notes and replay them slow with the machine's conclusions about what might be why it thinks it's a good or bad song)) By just using the motif of your classic song you see they all have much in common. By learning many similar songs and contrasting and comparing them you have a database you can build on if nothing more than for praise of great sounds.
If you pray for teens, remember it's not that they are dumb, they have no way of wisdom other than labor to achieve worth. Teens would be kind to the wise if they realize that life of most is a 30 and a 35 combined.
The notes of great songs are used more often, with more repeat time zones, and the other notes often "roll around" these major motifs. There is more motion around to and from the major notes without hitting the notes like 2,4 6 or seven (archippegio).
You realize to make a real song since the song revolves around the 1,3, and 5 (and the lower -3 the same as the 5 on the scale above) you find subtle set ups that then lead in more suprising ways to the 1, 3, and 5, sort of how to make a pun with the first consonant unchanged, you change the first vowel, totally changing the meaning of the word, vowels are more easy to change, so more savvy, or you can change the key if it's well related to the key you were in.
There are a few classic ways minor songs are bad like going up to a somewhat bad note and then down to a worse one, or lots of repeated minor notes with the vocals winding around a minor note real slow like of the words of the song "Born In The USA", these notes are around number five (4,5 6, 5-4-5) ending on 5 the second most minor number in a minor scale. This would seem to say the author of the tune is slow to react if it's bad or minor, with what would seem to be no solution for problems, if a person slows down when it's bad and are paralyzed, it would stay a problem. These are three classic ways to make a sad tune in music based on the worth of the three numbers of most import, 1-3-5, and the other numbers adding shades of more balance. I won't list more here, if you use this motif of the numbers to research them, you'll know what you think!
To find the numbers or the high and low peaks and valleys, count from the keynote up. Say you have the notes 5 33, 5 333 5 33 55 333 6 34. To find notes like the 6 34 if you don't know what the notes or numbers are, listen to that "aria" of the song, Ave Mariah Cary! Then count up to the notes from 1 and number them by plugging in the numbers and/or the visual hill and valley motif (good for higher speed memory). Like math you may often find especially if you're a beginner you know the tunes awhile and then you forget some of the song. Memory like in the Memory Olympics is more like a muscle you boost with labor than either you have it or you don't and abstract memory like music can atrophy like unused muscle. So once you've gone over what you want to learn in the song, you'll often forget some of it and if you go over more than once it by counting up and plugging in the numbers or hills and valleys (read on for more) and proofreading your labor it becomes more second nature. You may think you know it or that it should be that you know it without more labor, this is often not so. If your hair is tan you may not be a yellow hair blonde, if near the tube a lot!
By this motif of counting the numbers when you wonder how you know what you like or don't like, you can break the words or music into component words or other basic units of meaning and then find out just what's good or bad about the song, and then use this to improve and improv your own songs by knowing both what and why you want to allow or build up. As I say most good or great songs have so much in common in general when you see what's the cause of the unified worth you realize it's more easy to create your own, it's like rose gold and true blue. While to remember it well you can sing the numbers well, a method I find of use once I know the song well is to just picture the three main numbers like elevations and the four other numbers as two valleys between the elevations of the hills of sound, Up, Down, Up, Down, Up (the 5th note) and Then more Valleys to complete the image of 1, 2, 3, 4, 5, 6, 7 (6 and 7 are valleys). Then while I think of the song, I know where I am in the tune by this simple visual motif that reaccents the import of the three main numbers, and makes the song simple to visualize, to go over it if you picture the hills lighting up, or moving with a bit of pressure and of course you keep refining the image by singing the numbers from where you know them best {often the scale 1 or 5 or the lower -3 (same as 5 in the octave above)} to make it so you see your song from heights of higher foundations. You can take two songs you like a lot that are much alike and compare and contrast with the numbers, while learning why you like them, and often making up your own tune, if you're good enough at this ruse you may outachieve the copyright, and at any rate you can improve your depth a lot with this method, good for musician of all levels.
Once you have these numbers and realize about the notes of most worth you see a song in a simple visual way. I know the framework of a new song from old songs, and by this speed up for the same amount of labor I'm savvy about high speed songs in ways I would have been unaware of by other motifs of science or math, it's how to find genuine top 40 advice about the general look and feel of my music, and may have more influence on my soundproof visions.
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Keep in mind I'm hoping for my world to be filled with softships, even so any good musician will tell you there are no luxury instruments or royal roads to ancient math. It's common if others are blissfully unaware of this, and catching up on yawns and a bit of sleep. All must sleep sometime, and if they are alert so much the better, it's taken me months to author this site, and I was was asleep about half the month also, 57 trips here and 57 on a splurge to the old world bought on sail.
Click Here for a the first song I wrote using this method, inspired by American Indian songs, though not rock and roll if you like folk type songs you may find it interesting.
Business is not with the praise deserved. Bell invented the Ma Bell Yell, but not one site or boss may praise Alf Biff Snerd, the inventor of the monthly outbox memo!
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