«Come esploratori che si addentrano in paesi nuovi e sconosciuti, noi facciamo scoperte nel "mondo quotidiano", e il nostro ambiente, altrimenti muto, comincia a parlare in un linguaggio sempre più chiaro. Così i segni morti diventano simboli viventi, e ciò che è morto diventa vivo»
Wassily Kandinsky - Punto Linea Area (Adhelphi Editions)
In this third meeting devoted to "Summer" by Bruno Martino I would like to offer you the graphical view of this issue, relating to the sect of the song. I will therefore
the subject line and how it can reveal the internal equilibrium with the help of the geometrical point .
These calculations are inspired by studies carried out by me on Wassily Kandinsky, one of the greatest painters of the avant-garde art of the '900, and studies on color-formal balances related to ' jazz harmony, issues that I am in teaching for several years now.
Analysis of the theme (section)
"... the content of a painting is not in external forms, but in the strength-stress living in these forms"
Wassily Kandinsky - Point Line Area (Adhelphi Editions)
With this in mind, we serve the geometric point forces to bring out the inner- tensions that govern our theme music. In other words, what I am going to do is to transpose musical notation in graphic language through more primitive geometric element, recontextualizing musical values \u200b\u200bof the notes in the space , remains unchanged weights ed il movimento .
Tema originale
Clicca sull'immagine per ingrandire
Rielaborazione grafica 1 (nero su fondo bianco)
Clicca sull'immagine per ingrandire
Mettendo a confronto la partitura con l'elaborazione grafica si capisce come questa trasposizione ci permetta di individuare con estrema chiarezza i punti focali del tema, ossia i punti cardine sui quali la melodia "plana" scaricando le sue tensioni interne.
Possiamo inoltre cogliere il tracciato del movimento dei suoni contenuti in ciascuna delle tre righe del tema, ossia il movimento che la linea melodica intraprende ora verso la "luce", ora verso l' "oscurità!
Partendo dalla convinzione che Kandinsky aveva riguardo l'esigenza di una "Scienza dell'Arte" che potesse essere di supporto alla lettura e alla composizione di un'opera grafica o pittorica, con l'ausilio del grafico "Le 3 Stelle diatoniche" da me elaborato, ho applicato ad ogni nota musicale il colore corrispondente con l'obiettivo di rivelare gli equilibri più nascosti di questa linea tematica. (Ci I wish to state that this process can be applied to any composition!).
Note: For what concerns the association between the altered notes 5 and their respective colors, you can refer to "Crystal harmonic published in my book HANDBOOK OF CREATIVE JAZZ GUITAR - Theories about the harmonious vision of John Coltrane that will soon be available for purchase!)
In that regard, I anticipate that I will publish soon a detailed article titled "Double color enharmonic" within which treat the matching color-sound related to altered 5 notes.
graphics Revision 2 (color on a black background)
Click image to enlarge
Conclusions There is still much to say about this topic! For now I leave you time to digest everything that has been addressed in three lectures devoted to hitherto published "Summer".
About this lesson, I will forward to our next meeting even more of these nucleus forces that are the basis of 'natural harmony of things, knowledge and awareness of where the "read" In my opinion, is of primary importance for any musician and for anyone involved in art.
I would like to express my thanks to all those who follow my articles and want to show their interest in the letters that I receive.
invite everyone to contact me at my email: info@albertotebaldi.com for any clarification and discussion on the topics covered.
Good luck, see you soon!
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