The Hidden SYMMETRY of Music Theory
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- Опубліковано 25 чер 2024
- Most musicians waste their time studying traditional notation. With its arbitrary, man-made symbols, notation makes music theory seem much harder than it actually is.
In truth, music is geometry. And once you see how it's actually structured -- all built on a hidden framework of symmetry -- it makes sense. Let me show you....
BOOKMARKS:
0:00 Greetings
0:56 Getting into it
3:39 Three fundamental types of symmetry
5:44 Translational symmetry
9:20 Rotational symmetry
12:13 Reflectional symmetry
12:47 What does it mean? (holy trinity of music)
19:43 Six symmetries in music
23:15 Back to Kansas
24:25 Symmetry helps you master theory quickly
25:13 In summary...
27:28 Holy trinity of music diagram (from lesson 2 of the course at Locals)
30:35 Q: Translational diminished or whole tone scale?
32:57 Q: Lines of symmetry alway whole-steps between tetra chords?
34:56 C: Thank you for this
36:16 Adios
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Joseph Schillinger made the numerical semytery aspects of music way back in the early 1900.
His music school, The Schillinger House, is now known as Berklee School of Music.
Mike is giving us a 2D representation of what is actually a 3D mathematically perfect toroidal fractal symmetrical math which is music light EM radiation and all energy systems- the code for energy in the universe
Mike is as stated a true genius WELL DONE and ultimate respect.
BOOKMARKS:
0:00 Greetings
0:56 Getting into it
3:39 Three fundamental types of symmetry
5:44 Translational symmetry
9:20 Rotational symmetry
12:13 Reflectional symmetry
12:47 What does it mean? (holy trinity of music)
19:43 Six symmetries in music
23:15 Back to Kansas
24:25 Symmetry helps you master theory quickly
25:13 In summary...
27:28 Holy trinity of music diagram (from lesson 2 of the course at Locals)
30:35 Q: Translational diminished or whole tone scale?
32:57 Q: Lines of symmetry alway whole-steps between tetra chords?
34:56 C: Thank you for this
36:16 Adios
What a great way to bring together some order out of chaos in lieu of all the other lessons online... kudos!
Hi Mike, if the foundational major scale was historically decided to start with the letter A, I believe that all 3 of these symmetries you wonderfully point out in your presentation diagrams would still apply but obviously with a different order of note names.
Very metaphysical.
Unfortunately, the symmetry of the tetrachords only applies to the first 4 modes: Ionian, Dorian, Phrygian and (if you allow for the 1/2 step between the #4 and 5) Lydian. However, it breaks down after that, with Mixo, Aolean and Locrian having two different tetrachords. This is interesting to me because natural minor doesn’t balance, despite its stability (being second only to natural major). How do we pull the last 3 modes back into the symmetry?
I agree it would make sense to represent and teach music in a different and easier way, nowodays.
So because octaves essentially loop, do all of these symmetries apply with non-tet scales? Where I see 12-tet as a dodecagon, I imagine scales with microtones as having lopsided shapes that still might have some form of symmetry. Do you have any information about this?
Would you agree those symmetries are much more "visible" on fretted instruments (esp. bass guitar) than on a piano or saxophone, for instance?
I was never into music until 65 yoa, and have been geeking out on theory ever since. I really should tackle first species counterpoint, my next goal. There are countless quotes by musicians saying that they can tell when a composer hasn't studied counterpoint, so I have no excuse.
Do you have a representation for each species of counterpoint using geometry? I've been told that I should use a pencil and paper and a teacher, but isn't there a method using a keyboard or guitar, or hawaiin harp?
How about negative harmony
I've
only seen 1 of your videos where you compared the fretboard matrix to a torus, brother, that changed my life
Care to share the link to that video you're referring to?
That is all very obvious, but I wouldn’t of had a career for 30 years as a session musician if I couldn’t have read music in the traditional way. And classical music wouldn’t have been passed down to us over the centuries without traditional notation. As a six string bass player, I love the symmetry of having all strings tuned in fourths. Tune your guitar in 4ths and you will see what I mean. Pat Martino told me in the sixties to try turning all strings in thirds. I did it and got used to it and played four years using that tuning. The great thing is going up chromatically you don’t have to move your left hand!