Music, What I've learned In 35 Years, In Hours...

2007-05-04T15:35:00.001-07:00

There are some definite ways I've used to learn music over the years, I started out and I gradually learned how to learn, starting with these motifs you'll have all the advantage of my experience without going through by trial and error like I did, if like me saving you hours and months of practice.

These motifs are of higher worth when used in combination, and are not definitely in any order of more or less, but if you use them well you may become a good or great musician, without reading music if you like, and with no computer crashes... You don't either have it or not, there's a range of depth comparable to wealth of the rich and poor in the world between knowing what you like and being good at music but it's easier to achieve than money, more like exercising than you have it or not. You know cyber improvements are good, and some of the Motifs like improvising three times out of four right and then upping your level like it was in evolution I've learned from my computers (I used this to defeat the chess machines.). These Motifs may be used with or without the web, either way they'll make you smarter if you use them for most worth to your songs. While The Motifs aren't a guarantee of good music, they are ways to much increase your skill, memory and creativity at music.

When I was a teen I knew a drummer who all the neighbors said was a whiz at the drums (she didn't have to bang her head on the drum to find out what was making all the booms.). In those days I was trying and trying to learn how, learning my errors, and I asked her how she got to be a drum impresario. Her advice was just to go over and over my airship without a led zepplin. To me the ambitious teen, this seemed like bad news because I had visions of fast being a real music brain, on tour around the world. I was already good at science, art, and authorship, and these seemed a breeze. The idea seemed simple; find out what music had in common with these more general skills, and just repeat the other motifs. After all, wisdom is like that, and if I was the one with 10,000,000 fans in my arena, so be it! Why should it take much labor to learn a song? Sounds easy enough. I practiced for 20 years and never got much good. As I realized more recently, the drum genius turned out to be right. The good news is that this is just one of the Five Principles, EVOLUTION TAKES 4/4 TIME. This is just an entry level theory, however, because three of the other Principles are about how to build up your speed and skill, eventually your speed may be much improved. For example, once you learn a basic motif, you may learn other motifs like it. The Fifth Principle is about content, what your songs are about.

So what are the FIVE MOTIFS OF MUSIC?

Here are THE FIVE MOTIFS Unabridged;

The First Method

EVOLUTION TAKES TIME, as I've said. You have to accept that in music, it doesn't matter how many hours it takes to learn a tune, just that you learn it well. What's rum about the Five Principles is that you won't have to learn your mistakes, like I was, so you'll learn them well and fast compared to my speed when I was 20. Once you have a tune edited up on your machine using the Five Motifs you won't learn the wrong way, I learned how to achieve this by trial and error; you won't have this problem, so you won't have to wait 20 years like me. An important reason is that you're building up momentum, so your songs you learn in years ahead will have all the buildup in ways that are not evident when you start.

The Second Method

HOW TO EDIT UP YOUR IMPROVISED SONG
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Whether you want to go to country music heavan or just a round of the blues, you always have to learn at where you own level is. Improving your song is good but having a definite song on a cassette is much more of worth, the same each time you practice once you have the song by improv, and edits so you know what you learn, this for a god bit of worth. This is because all is a balance of opposites, It's Cool! It's Hot! It's Bad! It's Good! ect. (Music says stuff like this when it gossips) Most of the life of the world is at the surface because here is where the forces are in balance. Life takes balance, like algebra. You won't always have to know exactly what you're balancing, in song just like in math you don't have to even know what you're balancing to control it well. Balance and a regular motifs may save a you lot more than sidewalks have sails. An easy way to find where your optimum level of life is about your song is MAKE A RECORDING (ON CASSETTE OR OTHER MEDIA)... Then because all music is in general a question and the answer, you can edit up your song of all them, block by block, each question and each answer. If you retain all your progress of each edit, by breaking it down in steps, even by random improvisations and just doing anything that sounds like music, after just a few edits of each block and flipping the blocks around a bit with your copier (a boom box with ye old tapes may suffice) you may often have a real song. If you've tried to learn this for years like me this is a real morale boost. "I like sad tunes, because it was sad it took me so many years to learn the song!" If you make a goof on your main edits, a lot of times you can go back to earlier motifs and dub them in your song, for repetition and other uses. (Always make at least two copies of any important document.). I like audiotapes more than like SD or other chip media because tapes are simple and reliable. You can flip around the components of your tunes, this is not always so easy with cyber. And your tunes won't just dissappear when you press the wrong operation control, it's safer with cassettes but the two copies are a hedge your bed of Marygolds. They have no proof why when you read a computer monitor it's not memorable like when you see a real volume of Ask Amy, but this may be much of why real is of worth.

The main worth of the Second Motif is it's much tougher to improve a song if you have nothing to improve! MP3 Hath No Edit by Bread Alone. I would listen to instruction tapes of other musicians and they would say that the tape machine off the radio is the most important way to learn. What they didn't say, was it's a lot more value to learn your own songs edited up by the machine than just rote by rote. You can custom fit your whole song as a whole from your own idea instead of just learning whit of a tune that fits your instrument.

The Third Method
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CAUSOLOGY and EXPERIMENT Are The BEST MAGICIAN

Now you have your song on tape (See also The Fifth Principle, CONTENT BREEDS CONTENTS). After weeding out all the errors (and weeding out as an ongoing process, you'll get a feel for this with more) you listen in silent practice (landlords love you!). This is where you just think of playing the instrument, and go over it, memorizing your way to the afterlife when you're up with that foxy weatherwoman on CMT. While some musicians say you shouldn't learn any music of any sort without the real music and real instrument at hand, when you are good at your instrument and you have a real database of memory, silent practice has been used by musicians for ages who say it's of of value. It's a way to speed your songs by more immersion, I learn just while I'm asleep or awake! This makes my sleep of more Woolworth. The main caution about silent practice is you should practice often with your real instrument, if you don't often enough you learn motifs that are not in possible on your instrument, by "drift" and so you learn it wrong and have to relearn it.

Don't worry if you don't know all the motifs in the song right away, or after months or even years, progress is more about where you're going than how fast, good and high speed seldom are always the same about sound judgment. Once you have the general outline of your song and if there are realms you don't know yet but you want The Most Action in your zoom, for where you are unaware, just count out the number of beats this takes when you practice out loud, and when you practice in your solid gold room of the hits, just count to fill in, and say while you count the beats as you dream to remember to fill them in eventually, this fill in blank method is good anywhere in the song you haven't yet had time to learn well, think of asking as an open option. You don't know all the song without labor, how could a genius know all there is in a book without learning how to read, you have to learn from other reams than history, if a marm is sweet, she's good for brain exercise!

To remember the song, or anything well, a good method is to first go over the song by listening to it in the phones a few times and then go in depth with your memory, by starting at the start. Remembering what you know well you digest it generally from start to finish. For what you are not facile with, form a theory about it, for example, counting the number of high notes, saying the words, and especially giving the motif you're learning a name. Then repeat the motif over and over making sure to repeat the names and numbers of the motif and using this causology with what you've learned about it from your trial and error to guide you, generally it's good to condense the motif you got from your experience more to it's essence of just a few words, you're doing this anyway while you speed up but words are more powerful and especially at the start you learn it with more power. More About Naming To Learn Your Tune Well. The experiment is if it violates no rule and sounds like a real tune, no accounting for father in laws rich relative! The other main proof is if you can repeat the motif without error and with ease while you play it, if you can do this you're on your way. Finally about the Third Principle since the motif is of no value out of the tune you have to put it in it's place in the song. If you've already digested say, half the song well and the motif you've learned by the science type of method of the Third Principle is at a bit past this in the tune, you don't have to rewind all the way back to the start of the song, any more than if someone asks you how old you are if you're born in March, you would sing "Merry Christmas To You! Merry Christmas To You! (And 3 Months!) 20 years all the way through! You will need a real way to associate the general song to where the learned motif goes, just the way you know your age usually by thinking about it in months like me. When you remember your age you're not associating it to all the numbers on the line, you're asociating it to it's near enviroment, what people have said about your months, how they compare to ages past. So to learn the motif you have to find the most memorable or catchy part of the tune that is before what you're learning and then go over and over this link of both, repeating the names and numbers ect. Since the whole tune is before you mostly on the record you have made you're always learning the same stuff, and not your errors. Once you know the whole tune in general, just take any important point near where you want to learn more to finish out the song and use that as a starting point each time you improve that part of the song with the theory and experiment derived words repetition method. No doubt you want to continue going over the entire song but you have to be in high res memory. Any time you achieve this you can learn more yet especially when learning amazin stuff if you stop while you play there and repeat the correct words two or more times with each go round . It's good to have a song that once you learn the words correctly you find you don't have to even repeat the words as you're fused the advantage into the song, and you can add other rooms to the sofa of your cosmic memory. It's also good to give one realm of your tune a rest while you edit up more, and like exercise, you are in the push up machine of marathons!

The Science-Trial- and- Error- and- then- Plugging- in- Your- Results- With- Words-Method is a good way to match when you have most of the tune without some motif being improved, where you're hoping to fit how it's played more to the sound but you don't know how to refine your way out of the jug of ginger ale, even better! Say you are in brass hat rum meritorious and brag with the rest of the song (or you're merely amazing wow!) beside it in the motifs but have a problem where you wonder about how to pluck with your hand on off many times to play the song good and while you just know this motif goes with the song, and if you've already learned the rest of the song without a pick, the problem is you can't reach this with your right hand immediately when you hit the general note. To solve this with some real trial and error just with some experiments, if you try a few times you often say, Aha! You say "First move with your left hand and use your stronger middle finger to pluck the string with a more roundabout way of stopping the other wire with your digit in order to hit the wire to be played with the strong digit". You had no way of being savvy beforehand about how your middle left hand digit plucks the best to fit the song without trial and error, but if you have no other ways experiment is one of the best ways. When you have this solution by way of science, this is valuable wisdom provided you can then link it in your memory and plug it in the song where it goes like above about the christmas song, and many of the ways you learn well can be used to solve more songs with more ease with related motifs building up your store of tips and tricks. If you have the same problem in other songs, by having learned it once you can use it as a component of related motifs and on other instruments, to be sure you remember your hard won songs, list the solutions to problems in an AZ memo, Arizona has more round swimmimg lets hope! This method of finding and storing the words labor's well with no protest songs about AZ pools taking up room if you have reasonably good instruments. I've overcome all problems of complex songs with these so far. If you have a cheap instrument you can't always win without more labor via these methods, so this is actually more of worth here if you have determination like I had when I was no or -35 years old. These are powerful ways to learn and the best I've yet devised or heard of or seen so you may be much more skilled with evolution if you play lots of drums in the jungle with alive audiences!

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The Fourth Method
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MINIDISSCUSSION
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Once you've learned the tune well enough to play it all the way through without goof or woe, it's time to make a high quality live recording. I recommend Minidisc, it has much higher sound quality than the mp3's I've tried, you can get a Used Net MD on Amazon for just 40. The discs hold a gigabyte, so with just 10 bucks you can store lots of your tunes, what I'd like to see is an impact proof Minidisc machine that has an FM voice record, with the great sound quality and much cheaper memory than Mp3. With the minidisc you have a high quality copy of your tune and you can then edit out small goofs and perhaps flip a few bits around. For some folk tunes I also used a dubber with pitch control to sped up my tune this also smooths out. This is like with an arch where each stone is used to make it hold well, each error even if small subtracts more than it's worth out of the song. So these smoothing and cutting methods are of value. The minidisc is of worth, but just so mini edits are allowed, if you try too much beyond a certain level it's bad, this is like the idea of the impressionists like Van Gough, if you achieve it well, but leave if somewhat unfinished, it's much more a live type of song or painting, this holds for all creative motifs.
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The Fifth Method
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Content Breeds Contents
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If you can make it more memorable in a strong and good sort of way of value that violates no rule, so each motif of your song is unlike any other in the rest of the song or not like any other song, it's more easy to remember and thus to learn.

This is like my own illustrations if of realism. What I paint is something unusual, like the Cathedral, or the Folk Shops, and then elaborate on up. If you want to make your own motif, find a pattern and improve it. 1.Try it 2. Test it and 3.Adjust it, then repeat steps 1-3 often. If you want a good idea get a lot of ideas, find ways of randomness that violate no rule already based on your savvy about the motifs you know are of worth. Randomness and skill by such as explanation and experiment are the main ways to improve anything, the randomness generates the motifs, and the skill selects to motifs of most worth, links them and refines them. With practice, you learn to link longer and more advanced motifs to earn your cheese. To achieve randomness, like with the guitar, one good way is to re tune it and you may write a song like no other. (Click Here for some of my banjo songs I learned fast and well by just tuning, see the songs with the word "banjo" in the name.). While this method of retuning just somewhat is good for ideas it also makes it so you have to relearn the whole instrument all over, and you can't play with other musicians if they're good and you're without savvy. One of my hybrid methods is to compromise, by just retuning some of the strings, so it's original enough but not so unfamiliar it takes too long to learn. The power of what you've already learned is strong so you get credit for your practice with the guitar in '87 in a whole new light. I had actually invented instruments like woodwinds or brass that would re tune, by an operation control for more options, this may be on the web. However, since you can add randomness (based on your already brilliant comics!) by editing up tape blocks well just by random motions that you then refine and edit up this was just a step in my evolution, and while retuning the instrument is alright, the tape block by block method I consider to be of higher worth. It makes you compatible with other musicians about tuning while allowing more options with your song, the problem is about rhythm which is more irregular inless you use a digital recorder with all the blocks in standard units of time. The idea controls your instrument, not the other way round, because you add in improvisations by automatic edits, so you learn well, and you learn all the worth of many ages of labor by the first three Principles without having to learn the instrument all over with the song.(see the Second Motif, above).
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A good way to learn improv I have used is by what I name three out of four. I learned this from how to outwit my computer, I would start at a higher level and wouldn't win, and go to a low level and win always, it was too easy. Finally I realized if I went 3 out of 4 at the intermediate level most optimal, I would learn well. When I got this good at this level, then I would just up a level, and learn 3 out of 4 at this higher level, and so on. While this is a good way to learn improvisation on an instrument, it's one of the ways to music among many (all of which will hopefully boost your power as a musician to stardom). This idea holds often for all the submotifs of many many fields in life, because in the foundations of math it's been proven all the cosmos is based on action reaction pairs each with what changes and what stays the same, the trick here is to find what rules stay the same, the standard rules, and within the rules how and in what direction randomness of what type you want to create. For instance in chess I would move my "cheap"pieces (cheap but not too cheap for economy of means) out to the limit of my power fast, then find holes in the machines defenses, and then move through these interstices with other higher power pieces to go under the defensive wall and then it often took just mostly random moves to win. One way I knew this was if the machine got an advantage, it wouldn't take any time much to move, after all just to pick a random move is much easier than for the machine to adapt to my own. Another way I realized this about randomness within the rules is in the observation that in PR science people in surveys say they actually like the sound of chipmunks on the soundstage when they talk more than slow speed, and when I wasn't yet good at music before, even so I liked to listen to my slower songs with some goofs at higher speed. It smoothed out the goofs and mostly in those days I used a simple A/G, so the basic truth is if you just do random good deeds, many people rightly would say you are a good musician or creative to some extent. Certainly just to do good things is a sign you're not ill. No doubt this isn't the only way to be good at this, but it's of worth as a good way to then refine.

Best for brilliant improv is to also learn tactical improvisation motifs like you see in some music author's courses. As I say in More About Creativity, just to learn a relativly classic song well with some elaboration is almost as good first, then you can add on more brilliant stuff. For most just learning the basics reliably as on this page is the foundation, one reason why this is better for most is because most people even with all these tricks may not be able to do better than good, it may be too much to remember for most. The methods of this site may leave open the way for more amazing stuff for you I hope, even so without the basics as I realized after 20 years, you may get nowhere otherwise. Some will go on to even better, but the methods of this site I believe may make many more people who were no good good, the amateur able to go professional, and many who are professional and good great. Obviously, you still have to know how to do the basics at least somewhat to do more advanced improvisation, this page is for most, and then you can and your luck and labor may add the rest.

People like to listen to somewhat silly songs, I'm serious, find a good random motif say by some retuning, refine it, and you win with some elaboration as by the FIVE MOTIFS.

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When you invent a song it's important to always keep your eye on the direction of where you want to go as well as where the randomness and where the structure goes, just as in a sport the most important direction is away from you and to the goal past the opponents, and at the surface of the earth it's optimal to walk with our head up, even if you're like Magellan with the upside down ships in Australia! In truth randomness and unity are worthless if they aren't well placed. To find the direction of where to put your randomness the most important change in the tune, the best way to know is to think of the best possible moves you think you can make, and then aim the randomness and evolution around this even in more complex elaborations, music like science in general is quite simple. No doubt just an up scale is too simple an idea, often as we all know a good tune may go down to the best notes at the finish, so in a more abstract way the best move has to do with what's most of worth in a deeper sense. Even so the goal is often to center around these most important motifs.

Because I consider the 3 out of four improv or learning method to be not as much of worth as my later way of The Five Principles because I also learned from the computer that if you can't see what the payoff of a motif of action, and you have another option where you know you'll win, use the other option, a woman who lives up the road is always cuter. If you learn improvisation by just a "loose" method like the 3 out of 4, a fourth of what you learn is in error by definition. But with the methods of Going over a lot (Principle 1), Building Block Method of editing up on a memory storage medium of some sort (Principle 2), and "Theory and Experiment" like silent practice, error is much reduced while you refine your song. No doubt you have to make some errors to learn, but this is usual for all types of creativity. Music is unlike science or other ways to learn like I saw when I was a teen. It takes creativity and memory because without these ways to learn, much more labor would be needed to unlearn the errors. I say, in essence, the Motifs are just a way to make it more like other types of brilliance.

Another good way to learn content if is to listen to songs you like and figure out what they have in common, write this down in a volume with A to Z on the pages. (And use this method of storing all your improvements so you always find them.)

And written music is a way where I write all the names of all the motifs like number of high notes, where it is on the instrument in the tune, and comic memory aids (all from listening to the recording not silent practice, you'll learn errors). This is all without written music with notes, the absurd links are more memorable, I draw them in regular blocks of time via My Comedy Machine and other visual memory boosters. When I was 20 I would measure life in hot dish celebrations at the festival, So this written motif of authorship by wine, the women, and the sound wave is of value..

To Sum Up, Here are my Five Motifs I've Used to Become A Good Musician In 35 years..
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1.Evolution Takes Time, The Way Of Music For All The Ages, By Going Over and Over Your Songs

2.To Learn Fast Edit Up Building Blocks On Your Cassette, Ect. So You Don't Spend Nearly So Much Time, Learning Errors (You Know It's Right Just By Listening To what you've improvised on the tape, the same way you know what you like on the radio or not.). Your memory is more permanent once on the machine, and it's much more easy to remember an unchanging song, even if complex, than one you have to remember when you learn it much. This ups your memory a lot (in my experience my memory is boosted 3 to 5 X or more by these motifs).
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3. Theory and Experiment Method of Remembering the Song. Ask questions about the edited song on cassette while you listen, and see if so, refining your memory as you go. Name wherever it's not easy to remember, and also to remember well with more perception what you already know (this can be used as a stronger foundation for later buildup, and confidence, important) using rediculous memory motifs like contradictions, see My Comedy Machine. page and how to Name Your Tunes using memory motifs.
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4.Minidisc or other good recorder for final edits
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5. Content; for no music cliches, generate random motifs and select out the bad. Another content boost is to re tune instruments. Also see below for more about this.
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To learn Improvisation, I find a motif, and improvise it three out of four times right, and so on. While of worth, this is not as good as the other five motifs because a large fraction of your labor is spent learning your errors, so, while of real worth no doubt I think improv is not as good in general as more planned action.
Find what tunes of others you like have in common, and put this and other brilliant random thoughts in an A to Z volume. Learning tactical improv motifs is also of worth once you are a more advanced soundsmith.

Write down the tune by way of the motifs of the most memory, and read this aloud with your mother in law!

Return To ENCYCLOCOMP. MAIN FRAME (SUPPORTS PA and MASS!)
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Here's My Belief About The Science and Evolution of Music.

Remember, if you're a hero of the world it's more of worth to count your advantages than your pain, and if you say arf, you're blessed as much by owning a Jeep your size, you save so much!

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For Samples Of Folk Music By Me, Click Here.

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2007-05-03T12:14:00.000-07:00

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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

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..

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.

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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.

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.

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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

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Drawn Well, And Sharp

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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..

(MY OWN) COMIC MUSIC DEFINITIONS.

2007-05-02T15:52:00.000-07:00

How to Add Words to Your U Tunes

I know what I like! Another good motif of worth is to keep a page in the ABC soup memo used to write the rest of my observations and memos on paper, here I write descriptions and where and how to find most liked favorite songs and note what they have in common and then find ways to use this in songs. Once you know how to write the music the general motifs of the good songs you like you can use by finding old mostly rundown songs, and with the music from the other songs you've authorized you can make remakes of the old songs that are so unlike the original you'll be safe about copyright, by using lots of the classic motifs on this site (See main page) in combinations the old song was without, this is what it was deficient in, Ma said hen soup! This makes me feel good about the old song I had to listen to when I finally solve it. This way instead of starting with no idea like when I stretch out in the heat, I have half a tune already which is higher speed to finish and more of a boost.

A lot of classic songs have something like when in life it's extreme. I've listened to country music and I still listen to what I consider the best with a filter pack of Mp3 and other marathons of jog airvana. One of the classic themes of country songs of like the 80's and 90's was extremes in life, like Shania Twain's "A Woman in Love" Song. I love real great songs like this and one of the main ways it's a great song is by use of extreme life events. This is a good way to write a great song, find something in life, if you've lived through it the better, and find triumph in it with your song. If you're short of extreme situations and you think you'll be alive for another 150 years thanks to always renewing your subscription to SciAmer, you can find a lot of extreme situations in your the paper where you live, and even the Star or tabs.

Another observation about Shania's song is about the contradiction of the two opposites, her inner world and the outside. If you have the opposition in your creation this makes your song more of of worth, and often is in the most higher laborest!

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My Music Definitions

2007-04-26T16:37:00.000-07:00

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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.

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!

CLICK HERE FOR MORE MUSIC, COMICS, SNORTS, IMAGES and CULTURE PACKS BY ME...

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2007-03-31T13:03:00.000-07:00

How To Tune Your (Stringed) Instrument.

Start out by tuning your instrument to the standard or other tuning with higher open strings, this gets you in the general area. Next tune somewhat more sharp by playing low notes with each string. Finally, to tune it best go to higher notes up the frets, especially the high strings. When you have it so both the high notes and low notes match well, you're in tune (coronet players are without this motif!). Often it's good to tune to a T by tuning once in a while while you play to learn your songs, like a haircut and a shave with no loose ends, taking a few days to tune up often is best.

To tune your violin, use a motif like the above, except with double stops (two strings at once with the bow). First tune your high notes, then double stops, then match the lower strings to fit the higher, this is because the higher strings have more tension so they stretch the frets the most, this changes the general pitch more than the low strings which are then tuned to match. And if there's complexity in life, in the evolution of behaviour that causes change is the most alive and energi-sing! I wanna live! I wanna live! I wanna live until I live to be 125 mph!! Others actually calm us with sweet memos, and lots may relive and via no insomnia.
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Ever wonder how violin players play all the notes with no frets, or how to learn timing or other motifs on a continuum?... This also relates to tuning so you can see sharp cheese and pizza copy machines! Click here For Rich Mozzelleralla.

As I say above at the headline, it's often good to play more than one tuning with some of the strings to new tunings, the others the same, this way it's familiar enough you know a lot about it yet with enough change to make it seem old. This method is good for me because no need to learn the new songs completely from nothing and the basic notes I already know combine in more combinations even though I know them well. These tunings are valuable, especialy when you've learned more than one song and you're deeper in and you've put weeks or months in by way of this tuning. While for me at any rate there seem to be just 3 or 4 good songs per tuning because the complexity peaks out and complexity seems to create the best songs (probably because the easier ways to move for good notes are limited by the tuning and because I'm creative. All of my banjo songs, some of my best are based on changes of the tuning which is easier with the banjo because it's just got four main strings, the range of notes is higher and lower so more depth and more good notes per tuning, and because the action or ease of playing fast on banjos is good. Click Here. for some of my banjo songs I learned fast and well by just tuning, see the songs with the word "banjo" in the name.). To remember these other tunings so I won't lose them I list the numbers of each string on a sticker and tape it to the back of the guitar out of site for storage on the wall, I live in a great boombox!
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2007-03-26T10:51:00.000-07:00

HOW To "NAME THAT TUNE" With MERELY ABSURD WORDS.

As I say here on the music realm of my site, it's often good for memory to name the motifs of your tune. Say when you're learning your song you already know how to play your left hand just when you at the second loop of your tune, but not too well yet. In this phase you must be definitely sure you know what you want to remember is of worth, otherwise all that follows you learn to boost your memory will be going against you not for you, so you would want to learn stuff like the Five Ways To Music Power by way of the general good rules of the ideas and so on above.

Generally you want to be at least 3 times more certain or more, that you're more right than wrong in general. There are many ways to achieve this, for instance by way of your teacher marm from way back when in college, learning via CD ROMS with instructors (Cheaper and often a lot more of worth because you learn at your own speed) what I say on this site, knowing how you want the tune to go, or other sources of knowing either how not to goof or what's life to boost (these are the two general most important motifs in learning anything). In learning a song I often find myself not being able to remember some of it well while I'm learning it, since much of a good song is by much improvement and weeding out the only song anyone named you or me could ever write in the whole cosmos just like it. If you know what you want to remember to augument your song on the way to completion of it, if there's a lot to remember with slower to learn realms of the song and you want to remember it faster, as I say naming it is of real worth to improve it well, this broadens your depth and speed both. (Never underestimate the worth of familiarity in learning. In essence you have to learn the whole song with more than enough familiarity at least once. It's often a considerable time in months or even years from when you know how to play it right once in a while to where you can play it right most of the time or more, even though you "know" what the song is. If you're good at chess and you try a computer, you'll find that there are many deep and not so deep levels of perception. You can think you know, but only when you know why and how you know really well is your knoweledge complete, this is about making all the structures in your song, like all the mortar, roofs and wells of a realtor being sound and of worth, not just to look at, you want a room to live in.) To know has many layers of depth, and to name your motifs of your songs is of worth. How do you name it?

Say you start with on the fourth string at the start of your tune, and you want to remember this. One good way is to use the letters of each word to make one word you can remember at high speed, by making the word absurd. So when I start the song on the fourth Start With Fourth, is SWF or My word to repeat is SWiFt, SWIFT. And to remem-beer START and SWIFT (with ginger ale!) it's like the latin "Make Booze Haste Slowly!" Or another part of my song has, First, Middle Low High, which could be FMLH Foamy MiLes per Hour, so at that ream of my song with each rep I imagine a zoom up the superhighway of the B&O tracks of the wires and foam expands out when I reach that motif of the sound machine! Or on a repeat of another like but distinct realm of my tune Second Low Middle High, might be SLow My YooHoo, and here I would always repeat, Slow My Yoohoo, with a sound like a jug launching a giant ship to economise... This method of using letters for the words and then making a simple word out of it is a way to find the distinction faster, it's a sort of memory amplifier, refining it well to find distinctions that would otherwise take perhaps a third or twice the time to achieve it in tougher realms of the tune or other realms I want to learn. You go from where you can repeat that realm of your tune just sometimes correctly (where you know what you want to remember but can't repeat it all the time) to where you always play it well, and fast, this is a good depth booster. The word altus in latin means both high wide deep and broad, when you go on the roads in concert if you have a grand with 87 rooms and a swimming pool for the Margie and mom, so be it! For more advanced options of these Letters For Words, Click Here (My Comedy Machine).

With each session to learn a tune, in general you'll have two types of motif to remember, the new ones and the old, and others that are somewhere between new and so well learned you always repeat them well and without error and with ease. Only when you finish up the song will there be no more new motifs while you learn then, thus for most of your practice hours you'll want to both learn the new stuff, but something many non creators who wonder about the ways of music don't know is that it's just as important to learn more of the familiar motifs well as it is to learn the new motifs. The familiarity is about balance, and there is almost no other way to learn music well than with balance.

You may say that there are all these complex cyber ways to learn music, it turns out for now at any rate that like computerized art and computers in general, they have just two problems; they're real unyeilding and real unpredictable! Many cyber artists and musicians always draw and compose at faster than light right on the memo or the cassette because of this, and improve their creativity much faster and without risk of loss of all their memory here. Only then do they go computerized. Computers are often hugely slower than "real" media, and mostly seem to be just for perfecting and then sharing with the world wide web. Computers are another media, like painting in say oil more than arches, and like any seperate medium with a good number of special problem solving skills not found elsewhere. Even so I believe computers are way over rated here in 2009 for creativity. A paradise for musicians? The third moon they say has a higher boost in orbit!

Another way to name some of some tunes better is about what it reminds you of, say a dog barking, fizz if sharp, the click of a watch, or the power part of the song, the sad motifs, the smooth part of the song, the rough part, and so on. You can take these parts of the song and the words and make absurd words to remember like the above, and also where on your instrument you play, the speed you play it, and other ways you remember better, provided you're more sure than not, by using rediculous condensed words of sound.

If you learn sounds by aroma, your can't opener has no whiff!
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2005-01-14T13:21:00.000-08:00

About Timing and Continuous Scales

Ever wonder how a violin player finds all the notes without the frets? It may seem amazing, actually as you would say there must be a reliable way they couldn't have learned without. This is like a continuum and also like problems with timing, where if you realize you already have the idea right in general but you can't get the timing, often the best question to ask is, too slow or to fast, for the frets, higher or lower? If you don't know and suspect this would be the problem for time, try to speed up or slow down, once you're sure, then you can adjust the speed like the notes on the violin by saying, for time "faster" if you're too slow with each rep, or slower if say your right hand is out of time till you're finally in balance. You can make an exact "map" of your memory of the frets of the violin if you go over it a lot or enough to balance each move between the two opposites, sharp or lower on the violin or, fast or slow about time. Here too you see that all you have to do is use opposites to achieve sharp resolution, you don't have to know all the waves of physics, just that it's optimal and sounds best. While no doubt you have to consider the overall zoom, and some notes won't fit without consideration of some others, this too is where sharp resolve is of more worth yet, and is often the only way to achieve high enough resolution to be of a high level of audio culture or higher to Memo, the bosses wife, at any rate!

2004-06-13T18:47:00.000-07:00

FINISHING YOUR SONGS/LOOPS

Once you've learned your song so that you know all the general outline, you may notice after you've learned a few songs that while it may sound good if you've learned it well, in order to learn it well you have some realms of the song may take more practice than others to learn. One important cause of the unevenness is where you have the same way you play the song on your instrument and then suddenly you have to to change to something like another set of strings that are unalike and that may take alignment on the second strings in just the way to not be in error for another general realm of your song. If you know the basics well by the other methods on this site you may realize the song isn't finished without these two motifs of your tune being strongly linked, otherwise you end up with the basic building block sets of motifs each based on the ease of playing a set of chords or notes on one set of strings because these are easy to learn because they are alike, and the more awkward changes between these general building blocks of your song, which may sound like an awkward pause in your timing where the song you go from the first strings to the second in the live recording. With the song mostly finished as I achieve my songs where I have the building blocks themselves in good and mostly edited up say more than 75% finished, here's how to link the building blocks, which are pure abstraction because they have nothing to do with the sound, they're actually about making it seem like the two sounds are continuous, actually about the lack of sound, and this is totally about the instrument, not the sound itself just how to achieve it, so here in particular the loop method is of worth. Otherwise this is often the toughest thing about finishing a song with awkward pauses left after you've edited up the rest well.

Loops are a way to solve this memory problem. Say you have section A and B in your tune with an awkward pause caused by change of your hand and you want to link them. By the usual method of trying this real of the tune and you know by trial and error, or what your instructor or other source of information is about how to achieve it, and you know in general what you want to achieve, you can be more exact by forming a theory and then seeing if it is of worth from your database of trial and error from your memory bank. If it's a problem, and by this method of trying out solutions to fit the problem, once you find a solution that's complete for the problem (here about the connection in the tune between two unalike realms) you can then practice the link by starting halfway or wherever in the leading set of motifs of part A and then playing through continuously to say halfway through the B motif of your song in a loop always starting at that time and finishing at the same time in your tune when you practice then or at other times, repeating in words (much more memorable) with each rep of the loop what your conclusion about the problem and solution of the link was to essentially smooth out the link for a continuous song.

Loops are good for editing up your song once you have the general outline 3/4 or more in memory as you like. While you practice on your edited tune and you want to make it in higher resolution in memory, creativity and skill, say if you have some doubt about some notes of your song, sometimes you don't get it right and other times you do, or if it's incomplete at that realm, you can make a loop when you make an error and edit up right at that time with the loop starting somewhat before that realm and finishing after, with the problem solution motif like science, and once you're sure you've got it right, you can use the loop to repeat it with the words that reinforce the conclusion of your trial and error. You can do not as much or much, often when I practice I use this loop method of problem/solution/expressed in words right when I goof, a sort of first aid of sound, with the song evolving higher with each go round, so it's higher broad and wide in depth.

A good way to use loops is to pick the start and stop times more or less at random (while generally going from start to finish of your song in overall progress, so you go from familiar to augment more and more till the song is finished). This makes it more of a suprise to learn, sort of like looking at a wall from many angles and lights to clean it well, and as usual I use the problem solution in words motif. If you actually use the same loop while you're learning the song and you don't know where you are yet in the song this can cause problems because you may link the start to the finish of the loop and not to anything else so you may forget what comes next in the song and this would take longer to learn. Loops are more in general for finishing out the song, so in general you can try random motifs, improve them, and then use loops to refine and finish your tune, it makes practicing a boost where you have this complex awesome song and you can not only play it, you can definitely improve it.

Another good way to use loops once you know what you want to learn in words, say "speed up here" or " sharp" is to play up to where you want to improve the song and then repeat the loop with the word or words to learn as many times as it takes to achieve it well, going from general to specific. It's good to stop and repeat the words you've learned, especially when you're first learning the song, and especially if you're mostly sure the words are the right ones, repeating them in a sort of religious ritual. You'll give thanks when you realize this works well, and you're a great songsmith and they all shout. The good thing about this use of loops is that you learn both what you want to improve with a bit of hi def resolution, you also learn the general realm on the song around it so you're linking the familiar you've already digested well by use of this method in earlier go rounds with what you want to build up more, both are important to building up your song like an architect builds up a room no doubt both the solid foundation and the construction you add on. It's important to be overfamiliar with the easy parts of your songs, and it's just as important to over power the rest.
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One can use simple methods of familiarity for what's easy to learn in the song, and the more science type method to overpower the tougher passages, and once learned, the solutions to these more unintuitive types of problems in the stored A-Z, one can then learn more yet. It's been said most great songwriters "of ideas" don't have to be that great a technician. It doesn't matter how well they play a few rifts of the guitar. It's true that with your power past a certain level you're just more creative, and if you have more skill yet-even moreso! If i were with good dreams and drink booze, how would be aware of AAA?
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