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The profound composition, recorded or otherwise, would not be bound to one time frame, such as four-four, or foxtrot, or waltz in three-quarter's time. It reminds me of the Straus who decorated his study with waltz paper. Some of the masters of synthesized music even incorporate sonic time pictures in the music of the composition, such as an adagio of crystal-sounding high notes at millisecond staccato repetitions. And it still comes out as legitimate, if not profound, music. The master of these high frequency of beats are the aquatic mammals. In fact rhythm is an essential ingredient of our everyday lives. But those are natural rhythms. Assumed rhythms by human timpanists are almost always at best, wrong, but at the worst, which appears to be the average, it's harmful. One of the standard aspects of natural acoustic rhythm is usually randomization. That's just a start. In order to produce a symphonic work with the correctly randomized natural tympanic compliment, much investigation and research has to be done, although it may not have to entail the stringent methods of the scientific lab. But it certainly might, first of all, mean that the composer has to spend a lot of time in nature carefully noting the sounds. This is what annoys people about my music. Even though I don't really use that much tympani except in the strum of the guitar, for example, what annoys strict music buffs and certain musicians is that I instinctively randomize the tempo of the music, having spent as much of my teen age years as I possibly could in nature. Okay, it might be because I'm dyslectic or something else, I don't want to romanticize it or anything. But I really gained something anyone could by spending time in nature, among other things, learning to treasure random sounds like frog peeps or the patter of rainfall and so on. I learned about my randomization when a violinist accompanied me for a a few months when I was singing in the Paris Metro. For a while she tried in vain to correct what she considered my problem. Others did, too. You can hear some of my songs on this website, click here to go there. Continual contact with the natural world does help to re-awaken, to some degree at least, human instinct within the individual, and human instinct can be quite extraordinary, particularly with music. A mocking bird visits my present workplace daily to work with me on the "naturalization" of a jazz number. He (or she) has come up with some really great riffs. Do you realize how much more you could say if you sang instead of just talked when you communicated? It would astound -- all of us! Copyright (c) 2005 by Paul A. L. Hall. All rights reserved. Click here to see the article "Most Timpani is a Big Trick" in the music section. |