Today I’m strumming my instrument and pondering on the oblivious nature of organic acoustic-sound, we’re aware of progressions, keys, chord constructions and musical structure, but the rudimentary nature of sound itself is an independent factor that seems less-absorbed in the musical passage of time. The idea of musicians and non-musicians can attribute the same emotional appeal to particular chords or progressions have always yearned my curiosity and gleaned me towards the fundamental laws that govern these appeals. Psychophysics is a branch of psychology that study’s the relationship between physiological stimulation and mental phenomenon.

My attraction to psychophysics were because of certain chords that moved me, primarily sus4 chords and its unresolved nature, its airy quality is melodic and soothing to the ear. They’re magnificent alternative power-chords and very pervasive amongst singers and song writers. How about the magnificent wonders of polyrhythms? The ability to incorporate a myriad of melodies simultaneously. Baseline, Harmony, Melody and Percussion, while maintaining the rhythm synchronously within the time-signature. Here’s a prime illustration of polyrhythm, this video went viral in a week, remember my playability far exceeds this video, it was my first polyrhythmic attempt and extremely successful.

I GOT A FEELING – Black Eyed Peas

Demystifying a song you hear on the radio always seem like a conundrum, an exceptional ability bestowed upon a chosen anointed, a divine intervention predicating the gift of the highest musical attainment. Perfect pitch, relative pitch and the gift to regurgitate or mimic any song that pervades your ear, to many it’s a far-fetch notion, while others immerse themselves in the arrangement wonders, mingling in the joys and admiration of creative spurs that protrudes the instrument.

Music theory like many field is complexed and filled with jargon and terms that generally baffle beginners, and what makes playing an instrument a little more intricate is not just the theoretical aspect of learning, but the physical application and ear development that comes with the artistic territory. I’m writing this article pondering on the nature of “Ask A Newyorker” readers, and I understand not every reader is an aspiring musician or song writer.

Hence the reason I’ve designated a separate article that goes into more in-depth music theory, psychophysics, Polyrhythm, and the demystification of popular pop-songs. Invariably, breaking down a song into its tinniest fragments and understanding the fundamental starts with unravelling the direction the progression is moving. Remember my method is subjective, another musician may start with the key, baseline, melody or just the overall percussive or rhythmic sound. Please click on this link to read the full article ——-

Psychophysics, Polyrhythm and The Demystification of Music PT2

Also here’s an interesting paper I wrote exploring the rudiments of sound emanation and how it effects different variables when it travels. Amplitude is the maximum extent of a vibration or oscillation, and frequencies are the rate at which wavelength occurs per cycle. Velocity is the measurement of speed at which something propagates. This paper relates to physics and can adjacent the musical subject.
The Trichotomy Between Amplitude, Frequency and Velocity

Atelston Fitzgerald Holder 1st, Writer, Journalist & Lecturer Please Visit Official Website Appeared on over 20 different Cable & TV Networks.
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