Moto outer
Alberto Tebaldi
Oil and acrylic you canvas 50x70 cm (2007)
Click image to enlarge
A distance of 7 years after my first publication, artistic research and teaching led me to further the study of parallel 'Harmony Music (jazz in particular) and the Theory of Color and, consequently, to develop a long series of graphics and paintings on the theme of the motion of tension and relaxation, studies culminated in the drafting of the second instructional book, fresh from the publication ...
Alberto Tebaldi
METHODS musical language (2001)
theories on sound, color and shape applied harmony and improvisation
Music Publisher SYMPHONIC JAZZ (New Carisch) + accompanying CD
Alberto Tebaldi
manual creativity of jazz guitar (2007) Theories on
harmonious vision of John Coltrane
NEW WAYS TO THE UNDERSTANDING THE THOUGHT OF MUSIC ONE OF THE MOST 'ISSUE AND INNOVATIVE CHARACTER OF THE TWENTIETH CENTURY
Edition NEW ARGOS
CADENCE IIm7 SUSPENDED - V7
"... The fundamental principle of music, ancient and modern , revolves around the concept of tension and relaxation (or resolution, relaxation), the only reason why the music regenerates itself through the movement, namely the transition between these two conditions: voltage, which is equivalent to a state of motion, and relaxing, which is equivalent to a condition of state (static condition). Personally I prefer to use the definition of inward movement to the concept of relaxation and, for consistency, motorcycle outside the concept of tension ... "
(Excerpts from the book by Alberto Tebaldi METHODS OF LANGUAGE OF MUSIC, 2001 SYMPHONIC JAZZ - New Carisch)
What I intend to propose in this lesson is a further elaboration on the interaction between universes perceptual / sensory, in this case color and music.
The table (below) highlights the color characteristics of typical II-VI cadence increased (generated by the major key).
IIm7
IIm7 The agreement, which is inseparable from the geometric shape of the triangle and the color yellow (see previous lessons) was created by white light (from the point of view 'subtractive'), or better to say it with JW Goethe's words in his book of the early 800 THE THEORY OF COLORS by a turbidity level of the 'white'.
V7 V7
The agreement, linked to the geometric shape of the square and the color red represents the most Rate of tension. This agreement is closely related to effect of 'simultaneity' (see visual perception), color green color represents in fact complementary. It 's interesting to remember that the green color identifies the agreement v7sus4 (Phrygian) extrapolated from the relative minor key (NMS), according to Cadence, part II-VI less on the original (ii m7b5 - v7sus4 - the m7).
Imaj7
Imaj7 The agreement, linked to the geometry of the circle and the color blue, or black darkness was born (in this case from the point of view 'subtractive'), or rather from a level turbidity of the 'black'.
«...E' evidente come il principio di Tensione e Distensione si concluda nell'equilibrio delle forze... è importante notare come i tre colori, in ordine di Cadenza, tendono inequivocabilmente al colore verde... i colori giallo e blu, posti agli estremi della Cadenza, richiamano (per effetto di mescolanza) il colore verde che, quindi, ne rappresenta la mediazione... Il colore verde, non a caso, viene da sempre associato alla Natura, alla fecondità, quindi alla vita. Il bianco e il nero, dal canto loro, regolano il ciclo vitale degli elementi...»
(Estratti dal libro di Alberto Tebaldi METODOLOGIE DI LINGUAGGIO MUSICALE, 2001 SINFONICA JAZZ – Nuova Carisch)
In the painting I wanted to focus on the tension generated by V7 (ideally preceded by IIm7), highlighting some areas 'color' in order to help with the reading of the picture and understand how each agreement will lead itself a natural inclination to the cadence of the remaining agreements in question, this is because there is no tension in the movement unless the resolution, as if there is no relaxation in the direction of a new tension.
I am increasingly convinced that playing on a Cadenza II-VI, both from the point of view of harmonic improvisation, involving knowledge and awareness of the internal equilibrium condition our perception.
my research is meant to be a small contribution to the structuring and codification of that 'Science Art' and claimed 'deified' for the first time by Wassily Kandinsky in the last century.
have any questions about the topics covered please contact me at my email address
info@albertotebaldi.com
Thank you for your attention ...
Alberto Tebaldi
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