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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.
The melody wraps around the chord and is based on this, it's an ancient well proven method. You don't have to even use the other ancient method of a question and answer, from the basenote to other notes and then back to an answer note, even so combinations of chords and progressions combined with the question and answer method are more powerful. If you realize the structure of all music including about changes and melody is about both the structure of chords and the question and answer, you have the IDEA METHOD. For all the aurora around great music, it's just a pattern based on chords, if you know this you are already ahead. I once knew a musician who owned the sound stage where I was learning music and he was a brilliant drummer who actually played even with old time musicians like Frank Sinatra...(from the standpoint of skill alone, these ancient dudes were often a genius compared to later editors, even if we may not well realize the culture, often real skill whatever the cause has value like for winning wars, other methods often lack, this is what I say). And he says to me, most music is actually really simple. And I wondered what in the world was the solution here. In all my struggle with trial and error what is it I missed? And I believe this is it, a good way to EDIT, and the method of PROGRESSIONS, one for technical improvements the other for content may may you brilliant yet. If I could have known this and had good software like Audacity, I might have been much more, even more awesome than even as amazing I am here in 2018! I may be saving you a lot of R and D.
All chords aren't the same. The best way in may be as my college English prof would say, you have to learn the rules, before you learn how to break them.
This Discover Magazine site (click here or see link below) says machines can find the base of how much song popularity will be shouted out! For the last 50 years on how much harmonic suprise is used as well as reduction to more common harmonys for the other events of the song. So you want to definitely learn both chords and also find more unusual sounds. If you are learning an instrument with more linear sounds that won't play chords it's important to learn progressions and also arpeggios (broken chords one note at a time).
HOW TO CREATE HARMONIC SUPRISE
First you want to learn the rules. And then you want to modulate them. Einstein said that creativity is being able to hide your sources. I would say no creativity is be able to find your sources and then change them in more Cosmic waves!
If chords and chord progressions are the foundations of music, I recommend finding songs you like that have simple chord progressions . Listen to the radio and record it with your favorite songs sooner or later you'll find ones that are simple and that you can easily learn and they're also hopefully what's a lot of harmonic surprise.
A real awesome FM recorder for this I found is the U Shining telephone. It's Chinese like U and shi and ning! This is a really high resolution FM recorder and you can get a used one on Amazon for just $12 although you have to buy SIM cards and TracFone card which we already have!
While the U shining has got five features other MP3 players I've had before have don't have, the main feature here is that you can label your tracks on the disc. This gives you room to write notes about the song your listening to and find it. All my MP3 players before this didn't play or had low resolution audio or you couldn't label the tracks or find them. The Ushining also has a fast search. With the much larger fuel to edit your tracks you can listen long enough to find your favorite song to start editing that you can find by the label. One of my favorite labeling tricks that helps you find the search much faster is to use abbreviations in the first part of your label. You can't improve it if you can't always reliably find it. My own music like for Guitar is labeled MUM G and then notes about how to improve it. Or Others Music by other authors becomes MO and then like the college station banjo for a tune I might like to improve on.
Once you have your basic track song that you want to edit up if you have decided on to create harmonic surprise first memorize and learn the song by the method here marking out and word loops.
To create harmonic surprise take these basic chord progressions and combine them with other classic chord progressions and you can do this in a systematic way if you think about it like ornamentation. The ancient Greeks had a system of ornamentation for their vase paintings,
And the same thing to be done for harmonic surprise by taking your basic chords like Einstein was saying you can't hide the cosmos and then something to change them and systematic ways by combining them with the other classic chords so you're not even violating copyright and you only have a classic product that one in the universe even Einstein found out about!
In visual labor I've found that more media mean more ways to solve problems either by creating more suprise like harmonic suprise, as in music, or by finding technical solutions so all the events of the painting fit well. If you think of harmonic suprise as more solutions by more tools, you see what a good song is about if the musicians combine more knowhow about each type of suprise they have in reach ready or technical solution as they create the song one suprise and solution after another, so too it's easier to be an artist and just choose lots of media. Music also tends to be more expensive, like for instruments. Even so when more than one musician helps each one only has to pay for or rent his own machine and it's actually easier to be good. We see of some musicians who say it's not so tough to be in a great song, if he plays with others who are at a higher level than he is.
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..
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 media 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)...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 used to 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. Much more recently, I've adopted just the video recorder on my iphone and used it for the original audio archives, it's got high sound quality and believe me this is good knowledge, I went through like 30 failed machines just to find a reliable sound recorder for my basic recordings that sounds real good. I recommend if you like a way to save on this method like I did to just buy a cheap iphone on Ebay and use it only for primary recordings that you also backup on your more mainframe machine. If you use it like this with a backup just for your own sounds it may never crash because I only use my iphone for this use. The other cellphones have other uses and this sounds good about your audio unlike old cassettes or with aweful sound and smashes like older chips were seen with. Where's the Museum of Modern Art, all the paint is ancient foam that's ancient! 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. Better yet is to use a recording of a song you like, slow but great is best to start, then do rediculous sound improvisations as you may to the general tune you record on a second machine, the original and you improvising both on the second machine. This gives you the general structure of the song say progressions. I was not in favor of this much in the old days since, I didn't yet know how to edit then (other than by the 3 out of 4 method) and it would seem to violate copyright of the other author. Why learn it if it's not mine? Copyright says it has to be totally unrecognizable to the original.
The other two methods to get control are to take the idea and measure it out (often it's best to use more easy ways to play the sound and not try complicated changes that are both dumb sounding and tougher to play espically at the outset. If you feel the burn, it's more real and it's not an endless round of edits you never finish since it's not simple. Simple is often an advantage not a rewind! So Old Fashioned where's the booze you can use!)
By MARKING OUT I mean you have a real rough song while by the chord method mostly as above and so on, and then you might make a general copy with the video, and MARKING OUT is about say A1 A2 A3 for the first area, B1, B2, B3 and so on. For more resolution as a subset of say, R5 say like R5 first, R5 second, Third and so on if you need more resolution. This has real value because you can break a long song down into lots of simpler shorter edits so you learn both in and out of order. Basically you associate the area you edit with the frame of these general A1's and A2's. I can't imagine a more reliable way, what was I saying? Marking out makes it so you can instantly call to mind where you are in the song. Often with lots of reps each with its own change, this is the only possible way you find the time. As my language professors would say, always let your reader know what time it is in the story, and with music it's even much more so. The counting method always gives you a frame in which to put your ideas and edits. Note that you can also extend the area if you want to edit more of the song you've invented after the setup by using more numbers with the letter, and you can also add endings or intros as you edit by counting the number of areas and then count them in reverse to the main area of your tune as you then edit and practice, Or to insert endings like TA TB, after you say T1, T2, T3...or T5, T6 or T7. This way can be of value because science shows that you store like the endings of some words in another area of your brain than the main part of the word, like if the ending is much different like a complex improvisation this can be handy.
So the basic Marking method involves these simple letter and number ways you edit. Note that you can also do the intro by the minus when you blast off and reach your main area. And all the rest of your song is in easier reach by using the letters and numbers. To edit out or in just either remove a letter (for some) and/or just add numbers to the letters of the area before it to expand memory.
As you practice you may find it's often tough to find where the number or letter is you hope to then edit via the loops if you are inbetween and you are in solid gold phases of your sound in 1997! The most reliable method I've found other than to make a recording at the start after you make some general edits is by finishing and finding the numbers by grouping them in memory sets of 3 or four etc then you repeat the word and letter loops to move in to edit more reliably. Making a recording seems a bit too definite all the time to me. Studies show when you make a recording or take a photo, your memory for the event is reduced. Remember me? You're alive audience and are most aware in life I hope!
Words are five times more memorable according to Berlitz (language volumes, right, audio from the 70's reblend!) This speeds up how fast you improve 5 times. Say it out loud or a loud whisper in the marm room for yet more editing memory.
In these word loops I say both where in the song it is (A1, or A2,...) but also depending on how I want to improve, Higher, Lower, Faster, or Slower, and first the A1 A2 or etc for the general area, then "more or less x, more or less y, or more or less z, which helps with like where your hands go or if you like, use more or less left more or less right, and more or less in or out, after the A1, or A2 or other general number letter area (sometimes Clockwise or Counterclockwise or Stronger or Less for special use). With each loop say these words out loud at least twice to boost the worth. Another good way to boost your memory here is to repeat the word while you start the loop and then just press that note several times while saying Higher, Lower..and the number or letter you find it with..
This, other than a good audio editor like Audacity at low cost on the web is all you may need to edit. (LATER I USED THE LEXIS EDITOR FROM GOOGLE PLAY. ITS LIKE AUDACITY BUT YOU DON'T NEED A CONVERTER AND AUDACITY WOULDN'T LET ME SAVE IT SO I HAD TO RECORD IT WITH VOICE RECORDER ON MY RECORDER ON MY PC. Even so while Audacity is complex it has its virtues like reverb that Lexia is without. If you're a beginner for simplicity and reliability you may like Lexis more and yet as you may know each software often has its own advantages and disadvantages. I like Lexia more in general but AUDACITY is not Outdacity...)
Software is often enpugh, like in some boring music at the philharmonic the sound may go either up or down. While often you hear these bordum concerts where they make goofs even an amateur of pop sounds often wouldn't make, the great sounds of these realms I often think are incredible like a harp song from the 1600's I once heard that was out of this world, it must have taken years for just how the impresario learned it.
These methods, the IDEA (for more, read on), the MARK OUT, and the WORD LOOPS are a way to both have a real idea, and edit it for real control. I played the violin for 30 years by number crunching and got only two good songs by the old methods, yet with these three methods I've done two or three good songs that sound like real audio in a month since then. It works on any instrument, you don't have to learn to read music, it may do you well if you hope to be a great samaratin of sound.
In general, I first get an idea, practice awhile, then edit quite a bit with the word loops, then make the recording with improvisations. It's important to make this at the right moment in your evolution of the song, like in a day or two. Next, listen to the audio (copy, so the original isn't ever lost). Use the recording as a basis for the MARKING OUT, and then you can start to use the WORD LOOPS to refine all those errors and retain the best improvisations. This is why I record early in but not too early, improvistation, while also "errors" are also THE LIFE of much of your sound, smart is believeng half of what you hear brilliant is knowing which half of the sound is real! If you record too late, you may have edited more of the inspiration out of the song, which is often much of the life of it. If you record too soon, you lose technical stuff you got by your first edits and this also isn't as optimal. One good idea is if the recording has more of value, use it, if your idea is an improvement use it as you edit your sound.
It's of import to always edit continuously as you practice, when I see a goof I solve it and say the words and also you can go through the general structure of your song by saying like two steps forward one step back to link all the general areas of the song in the A1, A2, the B1, B2, except you are just using the general area of each A, B or C on the instrument, a good way to learn structure in general on your instrument or machine. And when I make a goof sometimes as I learn, I go back like to the Letter/Number before and get a running start, and then zoom in on the area I edit with the word loops several times, this also edits in just the area of worth, yet also in the general frame once you have the idea, and most of the structure with the Letter Number method, this will help you finish your edits with more depth.
It would be much tougher for me to learn the songs without these indexing and modulation methods. Even if there are areas you haven't yet finished and these are tough, the value of these methods allows you the use of starting at the beginning of the loops and going from start to finish of that loop. If you don't have it right away, keep applying the method with each session and you will. It may not be guaranteed but it's much more probable than the methods most used in the stone age of sound bytes..
The Third Method. SCIENCE and EXPERIMENT Are The BEST MAGICIAN
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..
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 media 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)...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 used to 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. Much more recently, I've adopted just the video recorder on my iphone and used it for the original audio archives, it's got high sound quality and believe me this is good knowledge, I went through like 30 failed machines just to find a reliable sound recorder for my basic recordings that sounds real good. I recommend if you like a way to save on this method like I did to just buy a cheap iphone on Ebay and use it only for primary recordings that you also backup on your more mainframe machine. If you use it like this with a backup just for your own sounds it may never crash because I only use my iphone for this use. The other cellphones have other uses and this sounds good about your audio unlike old cassettes or with aweful sound and smashes like older chips were seen with. Where's the Museum of Modern Art, all the paint is ancient foam that's ancient! 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. Better yet is to use a recording of a song you like, slow but great is best to start, then do rediculous sound improvisations as you may to the general tune you record on a second machine, the original and you improvising both on the second machine. This gives you the general structure of the song say progressions. I was not in favor of this much in the old days since, I didn't yet know how to edit then (other than by the 3 out of 4 method) and it would seem to violate copyright of the other author. Why learn it if it's not mine? Copyright says it has to be totally unrecognizable to the original.
The other two methods to get control are to take the idea and measure it out (often it's best to use more easy ways to play the sound and not try complicated changes that are both dumb sounding and tougher to play espically at the outset. If you feel the burn, it's more real and it's not an endless round of edits you never finish since it's not simple. Simple is often an advantage not a rewind! So Old Fashioned where's the booze you can use!)
By MARKING OUT I mean you have a real rough song while by the chord method mostly as above and so on, and then you might make a general copy with the video, and MARKING OUT is about say A1 A2 A3 for the first area, B1, B2, B3 and so on. For more resolution as a subset of say, R5 say like R5 first, R5 second, Third and so on if you need more resolution. This has real value because you can break a long song down into lots of simpler shorter edits so you learn both in and out of order. Basically you associate the area you edit with the frame of these general A1's and A2's. I can't imagine a more reliable way, what was I saying? Marking out makes it so you can instantly call to mind where you are in the song. Often with lots of reps each with its own change, this is the only possible way you find the time. As my language professors would say, always let your reader know what time it is in the story, and with music it's even much more so. The counting method always gives you a frame in which to put your ideas and edits. Note that you can also extend the area if you want to edit more of the song you've invented after the setup by using more numbers with the letter, and you can also add endings or intros as you edit by counting the number of areas and then count them in reverse to the main area of your tune as you then edit and practice, Or to insert endings like TA TB, after you say T1, T2, T3...or T5, T6 or T7. This way can be of value because science shows that you store like the endings of some words in another area of your brain than the main part of the word, like if the ending is much different like a complex improvisation this can be handy.
So the basic Marking method involves these simple letter and number ways you edit. Note that you can also do the intro by the minus when you blast off and reach your main area. And all the rest of your song is in easier reach by using the letters and numbers. To edit out or in just either remove a letter (for some) and/or just add numbers to the letters of the area before it to expand memory.
As you practice you may find it's often tough to find where the number or letter is you hope to then edit via the loops if you are inbetween and you are in solid gold phases of your sound in 1997! The most reliable method I've found other than to make a recording at the start after you make some general edits is by finishing and finding the numbers by grouping them in memory sets of 3 or four etc then you repeat the word and letter loops to move in to edit more reliably. Making a recording seems a bit too definite all the time to me. Studies show when you make a recording or take a photo, your memory for the event is reduced. Remember me? You're alive audience and are most aware in life I hope!
Words are five times more memorable according to Berlitz (language volumes, right, audio from the 70's reblend!) This speeds up how fast you improve 5 times. Say it out loud or a loud whisper in the marm room for yet more editing memory.
In these word loops I say both where in the song it is (A1, or A2,...) but also depending on how I want to improve, Higher, Lower, Faster, or Slower, and first the A1 A2 or etc for the general area, then "more or less x, more or less y, or more or less z, which helps with like where your hands go or if you like, use more or less left more or less right, and more or less in or out, after the A1, or A2 or other general number letter area (sometimes Clockwise or Counterclockwise or Stronger or Less for special use). With each loop say these words out loud at least twice to boost the worth. Another good way to boost your memory here is to repeat the word while you start the loop and then just press that note several times while saying Higher, Lower..and the number or letter you find it with..
This, other than a good audio editor like Audacity at low cost on the web is all you may need to edit. (LATER I USED THE LEXIS EDITOR FROM GOOGLE PLAY. ITS LIKE AUDACITY BUT YOU DON'T NEED A CONVERTER AND AUDACITY WOULDN'T LET ME SAVE IT SO I HAD TO RECORD IT WITH VOICE RECORDER ON MY RECORDER ON MY PC. Even so while Audacity is complex it has its virtues like reverb that Lexia is without. If you're a beginner for simplicity and reliability you may like Lexis more and yet as you may know each software often has its own advantages and disadvantages. I like Lexia more in general but AUDACITY is not Outdacity...)
Software is often enpugh, like in some boring music at the philharmonic the sound may go either up or down. While often you hear these bordum concerts where they make goofs even an amateur of pop sounds often wouldn't make, the great sounds of these realms I often think are incredible like a harp song from the 1600's I once heard that was out of this world, it must have taken years for just how the impresario learned it.
These methods, the IDEA (for more, read on), the MARK OUT, and the WORD LOOPS are a way to both have a real idea, and edit it for real control. I played the violin for 30 years by number crunching and got only two good songs by the old methods, yet with these three methods I've done two or three good songs that sound like real audio in a month since then. It works on any instrument, you don't have to learn to read music, it may do you well if you hope to be a great samaratin of sound.
In general, I first get an idea, practice awhile, then edit quite a bit with the word loops, then make the recording with improvisations. It's important to make this at the right moment in your evolution of the song, like in a day or two. Next, listen to the audio (copy, so the original isn't ever lost). Use the recording as a basis for the MARKING OUT, and then you can start to use the WORD LOOPS to refine all those errors and retain the best improvisations. This is why I record early in but not too early, improvistation, while also "errors" are also THE LIFE of much of your sound, smart is believeng half of what you hear brilliant is knowing which half of the sound is real! If you record too late, you may have edited more of the inspiration out of the song, which is often much of the life of it. If you record too soon, you lose technical stuff you got by your first edits and this also isn't as optimal. One good idea is if the recording has more of value, use it, if your idea is an improvement use it as you edit your sound.
It's of import to always edit continuously as you practice, when I see a goof I solve it and say the words and also you can go through the general structure of your song by saying like two steps forward one step back to link all the general areas of the song in the A1, A2, the B1, B2, except you are just using the general area of each A, B or C on the instrument, a good way to learn structure in general on your instrument or machine. And when I make a goof sometimes as I learn, I go back like to the Letter/Number before and get a running start, and then zoom in on the area I edit with the word loops several times, this also edits in just the area of worth, yet also in the general frame once you have the idea, and most of the structure with the Letter Number method, this will help you finish your edits with more depth.
It would be much tougher for me to learn the songs without these indexing and modulation methods. Even if there are areas you haven't yet finished and these are tough, the value of these methods allows you the use of starting at the beginning of the loops and going from start to finish of that loop. If you don't have it right away, keep applying the method with each session and you will. It may not be guaranteed but it's much more probable than the methods most used in the stone age of sound bytes..
The Third Method. SCIENCE 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.
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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 where you were 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 letter and number. 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 both by the EDIT and the CHORD foundation, 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!) 30 years all the way through! Half a birthday to me, my birthdays are 6 months after I was 21! 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 associating it to it's near environment, 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. Ask "is it higher, lower, faster or slower" if you are unsure at first. 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!
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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 swimming lets hope! This method of finding and storing the words labors well with no protest songs about AZ pools taking up room if you have reasonably good instruments.
.The Fourth Method. MINIDISSCUSSION
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For a higher quality listening copy I wish I could use other audio even if there is no line in, Sigh! (Loud Sigh! Right!). The line in can be from heck if you don't use visa!
Audacity is freeware but some Audacity versions have malware so I had to hire the repairman to find the good Audacity online. So too if you are trying to convert your files from the Mp3 in Voice Recorder in Windows to wave which is the only format Audacity accepts so you also may need file converter software and while this has value like to store and play your tunes on other media like for your neighbors or record contract, it also may have malware. The good news was that after you get past the worst of downloads you may not have to continue this rather woeful risk, no more are needed. Kim Kommando you may have seen her on her radio show about computers and in magazines like PopSci. She says if you suspect malware, your machine is slow and you get funny boxes, by all means uninstall the software. You'll often know malware by the lack of savvy even the clip shows, what convict can play guitar well in the big house? Even so in cyber repair it's generally agreed about security you get more if you pay more and online antimalware freeware may not give you security as good as a dedicated software you pay more than nothing for, this is exactly what your ISP may claim but what do they know, we are in the information business right!
About software like Audacity they have standard features you can use the zoom to move way in and highlight and cut or otherwise edit to make your sound even the best of the best. I like the reverb, and you can change the volume of some of your sound if you missed a bit of it, and using speed control make a slow ballad into a power sound, and cut and paste is well and weller..Audacity has the fade in and out of the sound so you can edit the weatherwoman in smoothly with sea foam.
A definite event about Audacity or other editing software is about the Marking Out method which you've memorized before the main recording. Since I memorized in loops, I can just do say five versions of each loop to get the best take if needed. I never was a performing musician, but high quality sound is in reach if you're like me and good at editing. One thing about this is it's tough if not impossible to edit individual notes among other high speed notes, they carry over too much. So if you learn your sound in loops with a definite pause between each of the areas like where you change loops this is much easier to find and you can flip around the loops and blocks via cut and paste, the usual cyber method. Note that some instruments like the keyboard are easier to have the blank spaces of real worth for some final edits in the tune because the notes fade rapidly on the keyboard like the piano. This makes it much easier to edit the best blocks of the sound. With other instruments with longer sustain this isn't so easy and so you may want to use digital methods or perhaps a mute to reduce the sustain, sustain rises up! It goes to comic present tents so you win the war in paradise I hope.
Note that if you record a song in your main recording after the song is ready by like Marking Out and the Word Loops etc., it's rather tough to know exactly where you are in the tune sometimes so I might play a bit fast or slow and the meaning is changed a bit. After recording this can be solved by zooming in in that area and then highlighting and click on Effects in Audacity, then click change tempo (changes speed but not pitch) and speed it up or slow down just where you want. You can also make a note a bit louder or softer if it's a bit rough or you didn't quite hit the note enough but it's still there and you like the use of it. And just by cut and paste if you want to use the best loop more than once with the best edit, you can delete the bad edit and replace it with the best.
Note that I use the Voice Recorder in Windows, Minidisc is another high quality original sound source and the line in is then to the big floppy in the afterlife. You want a high quality first record so even if say your Audacity is out of reach you can even return in years and edit it right up. And if the sound quality is reduced with the main sound, it's more reduced for all the rest of your edits. You may save it by luck but for sound quality garbage in garbage out was the old bosses way of saying the sign with Suggestion Box was above the paper shredder! Then to post my edited song on Youtube, I used moviemaker and find good high quality photos or art at no cost on sites like Pixabay, Unsplash, or even Science Direct or Pexels, these are awesome sits for zooms. By separating the zoom from the audio, you get more control of both the visual and the audio.
Be sure to check your final recording for sound quality, if it's not as good you can often rerecord out the buzz by using your audio manager, mine is where you click on the taskkbar with the small speaker icon. Realtek has many cool filters, reverb, padded room, auditorium, plain, club, pop, classical, and many many more, and even headphone virtureal so you can find the best option and then rerecord it with your line out to another high quality machine like Minidisc or other recorders you can get for like 100$ on Amazon. The main problem with Realtek is if you have it always on it won't tell you what it will sound like without the filter advantage. So set the Realtek to default (no sound effect) and you will see and be amazed just how humble I am, Mamma is Wising Up! If you like then use the Realtek to record the line out sound and then just send it back with the line in to the voice recorder, and on you go if you're not a HD radio!
There are three ways improvs based on other musicians plus your own edits solves the copyright problem, to make it real distinct, your own. First, the song is slow and your improvs are fast, second they are indeed improvs. Third I always pick another instrument than the tape machine's PHD. And finally, the editing changes the tune even more, and yet the most important thing the original gives are the most important, general structure and inspiration. You're getting instruction from an expert, not just random trial and error, if you use this with your editing you may find it speeds you progress up a lot!
These editing methods are my best yet. One thing about learning songs you admire by your favorite soundsmiths is that you can't promote them as your own. While you can't say they're yours they can help you improve especially as you are learning sometimes! So it's of value to learn other people's songs for general value (not real general!). The limited use is to learn more advanced songs from higher up sounds of more advanced musicians so you can later use them in your own more advanced ways provided as above you change them well beyond the original. You learn the tech of your instrument and the beauty you admire.
I think of this like realism in art compared with creative events. Others may show you the tech stuff and also you can find your own spirit and soul by your own sleep all month!
The editing tools like Marking Out and the Word Loops will make learning songs by more advanced methods viable. They will allow enough computing that allow you to study "both real" and ideas also. Like me you may find you aren't stuck just learning your own tunes due to limits in editing and memory.
The Fifth Method. Content Breeds Contents. 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.
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Finally once I make another final recording with the video audio! Right! I use the line in to my Machine and record it with voice recorder, then I use Audacity for the final edits (you can get good simple audio editors on Google Play these are safe to load to you machine unlike before), then I record back to my audience. I make both a cheap final copy for playing with my relatives, loud etc. and also a higher quality copy to share on the web.
For my cheap copy I use a Creative Zen Neeon 2 Gb recorder, or you may or another recorder with line in, these are high end recorders from 10 years ago, they have great sound quality. You can buy them used on Ebay for about 40 bills. They are built like a tank so even if used they may well last 10 or 20 more years, and the have a line in recorder and some have FM record unlike the Neeon and a line in also. Low end unname brand recorders always ended up as junk. I put 1000 into low end recorders that always failed, so the Zen may be a real way out. I got a lifetime supply, I must live 100 years on Ebay, auction me out in the life above!
For my cheap copy I use a Creative Zen Neeon 2 Gb recorder, or you may or another recorder with line in, these are high end recorders from 10 years ago, they have great sound quality. You can buy them used on Ebay for about 40 bills. They are built like a tank so even if used they may well last 10 or 20 more years, and the have a line in recorder and some have FM record unlike the Neeon and a line in also. Low end unname brand recorders always ended up as junk. I put 1000 into low end recorders that always failed, so the Zen may be a real way out. I got a lifetime supply, I must live 100 years on Ebay, auction me out in the life above!
For a higher quality listening copy I wish I could use other audio even if there is no line in, Sigh! (Loud Sigh! Right!). The line in can be from heck if you don't use visa!
Audacity is freeware but some Audacity versions have malware so I had to hire the repairman to find the good Audacity online. So too if you are trying to convert your files from the Mp3 in Voice Recorder in Windows to wave which is the only format Audacity accepts so you also may need file converter software and while this has value like to store and play your tunes on other media like for your neighbors or record contract, it also may have malware. The good news was that after you get past the worst of downloads you may not have to continue this rather woeful risk, no more are needed. Kim Kommando you may have seen her on her radio show about computers and in magazines like PopSci. She says if you suspect malware, your machine is slow and you get funny boxes, by all means uninstall the software. You'll often know malware by the lack of savvy even the clip shows, what convict can play guitar well in the big house? Even so in cyber repair it's generally agreed about security you get more if you pay more and online antimalware freeware may not give you security as good as a dedicated software you pay more than nothing for, this is exactly what your ISP may claim but what do they know, we are in the information business right!
About software like Audacity they have standard features you can use the zoom to move way in and highlight and cut or otherwise edit to make your sound even the best of the best. I like the reverb, and you can change the volume of some of your sound if you missed a bit of it, and using speed control make a slow ballad into a power sound, and cut and paste is well and weller..Audacity has the fade in and out of the sound so you can edit the weatherwoman in smoothly with sea foam.
A definite event about Audacity or other editing software is about the Marking Out method which you've memorized before the main recording. Since I memorized in loops, I can just do say five versions of each loop to get the best take if needed. I never was a performing musician, but high quality sound is in reach if you're like me and good at editing. One thing about this is it's tough if not impossible to edit individual notes among other high speed notes, they carry over too much. So if you learn your sound in loops with a definite pause between each of the areas like where you change loops this is much easier to find and you can flip around the loops and blocks via cut and paste, the usual cyber method. Note that some instruments like the keyboard are easier to have the blank spaces of real worth for some final edits in the tune because the notes fade rapidly on the keyboard like the piano. This makes it much easier to edit the best blocks of the sound. With other instruments with longer sustain this isn't so easy and so you may want to use digital methods or perhaps a mute to reduce the sustain, sustain rises up! It goes to comic present tents so you win the war in paradise I hope.
Note that if you record a song in your main recording after the song is ready by like Marking Out and the Word Loops etc., it's rather tough to know exactly where you are in the tune sometimes so I might play a bit fast or slow and the meaning is changed a bit. After recording this can be solved by zooming in in that area and then highlighting and click on Effects in Audacity, then click change tempo (changes speed but not pitch) and speed it up or slow down just where you want. You can also make a note a bit louder or softer if it's a bit rough or you didn't quite hit the note enough but it's still there and you like the use of it. And just by cut and paste if you want to use the best loop more than once with the best edit, you can delete the bad edit and replace it with the best.
Note that I use the Voice Recorder in Windows, Minidisc is another high quality original sound source and the line in is then to the big floppy in the afterlife. You want a high quality first record so even if say your Audacity is out of reach you can even return in years and edit it right up. And if the sound quality is reduced with the main sound, it's more reduced for all the rest of your edits. You may save it by luck but for sound quality garbage in garbage out was the old bosses way of saying the sign with Suggestion Box was above the paper shredder! Then to post my edited song on Youtube, I used moviemaker and find good high quality photos or art at no cost on sites like Pixabay, Unsplash, or even Science Direct or Pexels, these are awesome sits for zooms. By separating the zoom from the audio, you get more control of both the visual and the audio.
Be sure to check your final recording for sound quality, if it's not as good you can often rerecord out the buzz by using your audio manager, mine is where you click on the taskkbar with the small speaker icon. Realtek has many cool filters, reverb, padded room, auditorium, plain, club, pop, classical, and many many more, and even headphone virtureal so you can find the best option and then rerecord it with your line out to another high quality machine like Minidisc or other recorders you can get for like 100$ on Amazon. The main problem with Realtek is if you have it always on it won't tell you what it will sound like without the filter advantage. So set the Realtek to default (no sound effect) and you will see and be amazed just how humble I am, Mamma is Wising Up! If you like then use the Realtek to record the line out sound and then just send it back with the line in to the voice recorder, and on you go if you're not a HD radio!
There are three ways improvs based on other musicians plus your own edits solves the copyright problem, to make it real distinct, your own. First, the song is slow and your improvs are fast, second they are indeed improvs. Third I always pick another instrument than the tape machine's PHD. And finally, the editing changes the tune even more, and yet the most important thing the original gives are the most important, general structure and inspiration. You're getting instruction from an expert, not just random trial and error, if you use this with your editing you may find it speeds you progress up a lot!
These editing methods are my best yet. One thing about learning songs you admire by your favorite soundsmiths is that you can't promote them as your own. While you can't say they're yours they can help you improve especially as you are learning sometimes! So it's of value to learn other people's songs for general value (not real general!). The limited use is to learn more advanced songs from higher up sounds of more advanced musicians so you can later use them in your own more advanced ways provided as above you change them well beyond the original. You learn the tech of your instrument and the beauty you admire.
I think of this like realism in art compared with creative events. Others may show you the tech stuff and also you can find your own spirit and soul by your own sleep all month!
The editing tools like Marking Out and the Word Loops will make learning songs by more advanced methods viable. They will allow enough computing that allow you to study "both real" and ideas also. Like me you may find you aren't stuck just learning your own tunes due to limits in editing and memory.
The minidisc was 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. I use the cellphone which is much cheaper yet with high quality video audio, with the Audacity to edit the clicks or other edits, even while MD was advertised with a million rewrites on the disc in the real world it crashed with 10 years of use via failure of the laser or etc. like the reading mechanism not the disc.
The Fifth Method. Content Breeds Contents. 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.
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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 moves) 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 WORD LOOP LETTER/NUMBER 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 unless 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)..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.
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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 relatively 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.
This involves three general ways to advance, the IDEA which both for melody and other changes is based on chords. The melody wraps around the chord and is based on this, it's an ancient well proven method. You don't have to even use the other ancient method of a question and answer, from the basenote to other notes and then back to an answer note, even so combinations of chords and progressions combined with the question and answer method are more powerful. If you realize the structure of all music including about changes and melody is about both the structure of chords and the question and answer, you have the IDEA METHOD. For all the aurora around great music, it's just a pattern based on chords, if you know this you are already ahead. I once knew a musician who owned the sound stage where I was learning music and he was a brilliant drummer who actually played even with old time musicians like Frank Sinatra...(from the standpoint of skill alone, these ancient dudes were often a genius compared to later editors, even if we may not well realize the culture, often real skill whatever the cause has value like for winning wars, other methods often lack, this is what I say). And he says to me, most music is actually really simple. And I wondered what in the world was the solution here. In all my struggle with trial and error what is it I missed? And I believe this is it, a good way to EDIT, and the method of PROGRESSIONS, one for technical improvements the other for content may may you brilliant yet. If I could have known this and had good software like Audacity, I might have been much more, even more awesome than even as amazing I am here in 2018! I may be saving you a lot of R and D.
All chords aren't the same. The best way in may be as my college English prof would say, you have to learn the rules, before you learn how to break them.
This Discover Magazine site (click here or see link below) says machines can find the base of how much song popularity will be shouted out! For the last 50 years on how much harmonic suprise is used as well as reduction to more common harmonys for the other events of the song. So you want to definitely learn both chords and also find more unusual sounds. If you are learning an instrument with more linear sounds that won't play chords it's important to learn progressions and also arpeggios (broken chords one note at a time).
HOW TO CREATE HARMONIC SUPRISE
First you want to learn the rules. And then you want to modulate them. Einstein said that creativity is being able to hide your sources. I would say no creativity is be able to find your sources and then change them in more Cosmic waves!
If chords and chord progressions are the foundations of music, I recommend finding songs you like that have simple chord progressions . Listen to the radio and record it with your favorite songs sooner or later you'll find ones that are simple and that you can easily learn and they're also hopefully what's a lot of harmonic surprise.
A real awesome FM recorder for this I found is the U Shining telephone. It's Chinese like U and shi and ning! This is a really high resolution FM recorder and you can get a used one on Amazon for just $12 although you have to buy SIM cards and TracFone card which we already have!
While the U shining has got five features other MP3 players I've had before have don't have, the main feature here is that you can label your tracks on the disc. This gives you room to write notes about the song your listening to and find it. All my MP3 players before this didn't play or had low resolution audio or you couldn't label the tracks or find them. The Ushining also has a fast search. With the much larger fuel to edit your tracks you can listen long enough to find your favorite song to start editing that you can find by the label. One of my favorite labeling tricks that helps you find the search much faster is to use abbreviations in the first part of your label. You can't improve it if you can't always reliably find it. My own music like for Guitar is labeled MUM G and then notes about how to improve it. Or Others Music by other authors becomes MO and then like the college station banjo for a tune I might like to improve on.
Once you have your basic track song that you want to edit up if you have decided on to create harmonic surprise first memorize and learn the song by the method here marking out and word loops.
To create harmonic surprise take these basic chord progressions and combine them with other classic chord progressions and you can do this in a systematic way if you think about it like ornamentation. The ancient Greeks had a system of ornamentation for their vase paintings,
And the same thing to be done for harmonic surprise by taking your basic chords like Einstein was saying you can't hide the cosmos and then something to change them and systematic ways by combining them with the other classic chords so you're not even violating copyright and you only have a classic product that one in the universe even Einstein found out about!
In visual labor I've found that more media mean more ways to solve problems either by creating more suprise like harmonic suprise, as in music, or by finding technical solutions so all the events of the painting fit well. If you think of harmonic suprise as more solutions by more tools, you see what a good song is about if the musicians combine more knowhow about each type of suprise they have in reach ready or technical solution as they create the song one suprise and solution after another, so too it's easier to be an artist and just choose lots of media. Music also tends to be more expensive, like for instruments. Even so when more than one musician helps each one only has to pay for or rent his own machine and it's actually easier to be good. We see of some musicians who say it's not so tough to be in a great song, if he plays with others who are at a higher level than he is.
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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.
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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), 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..
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..
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To Sum Up, Here are my Five Motifs I've Used to Become A Good Musician In 35 years..
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 BY WORD LOOPS and MARKING OUT 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)..
3. Theory and Experiment Method of Remembering the Song. Ask questions about the edited song on cassette or other media 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..
4.Minidisc or other good recorder Like The Video Plus Audacity for final edits.
5. Content; for no music cliches, generate random motifs and select out the bad. Most music is simple and Based on Chords. I recommend study of chord progressions both for beginner and higher levels of depth. Another content boost is to re tune instruments. Also see below for more about this..
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!
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 BY WORD LOOPS and MARKING OUT 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)..
3. Theory and Experiment Method of Remembering the Song. Ask questions about the edited song on cassette or other media 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..
4.Minidisc or other good recorder Like The Video Plus Audacity for final edits.
5. Content; for no music cliches, generate random motifs and select out the bad. Most music is simple and Based on Chords. I recommend study of chord progressions both for beginner and higher levels of depth. Another content boost is to re tune instruments. Also see below for more about this..
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!
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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!
Here's The Discover Magazine Site About the Value of Harmonic Suprise in building up the Sound or Idea of Your Tune...
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