The subject of classical harmony necessitates a deep examination of the interconnections between different keys. This relationship, first of all, is carried out by the similarity of several keys with common sounds (including key characters) and is called the relatedness of keys. First you need to clearly understand that, in principle, a universal system that determines the degree of relatedness of tonalities does not exist, since each composer perceives and implements this relationship in his own way. However, nevertheless, in musical theory and practice some systems exist and are firmly established, for example, Rimsky-Korsakov, Methodin, Hindemith and few other musicians.
The degrees of relatedness of keys are determined by the proximity of these keys to each other. The criteria for proximity are the presence of common sounds and consonances (mainly triads). Continue reading
Even in ancient India, there were peculiar ideas about the close relationship of music and color. In particular, the Indians believed that each person has his own melody and color. The brilliant Aristotle claimed in the treatise “On the Soul” that the correlation of colors is similar to musical harmonies. The Pythagoreans preferred white, as the dominant one in the Universe, and the colors of the spectrum in their view corresponded to seven musical tones.
The colors and sounds in the cosmogony of the Greeks are active creative forces. In the XVIII century, the monk scientist L. Castel decided to construct a “color harpsichord”. Pressing a key would present the gaze of the listener with a bright color spot in a special window above the instrument in the form of a colored moving ribbon, flags shining with various colors of precious stones, illuminated by torches or candles to enhance the effect. Composers Rameau, Telemann and Gretry reacted with attention to the ideas of Castel. At the same time, he was sharply criticized by encyclopedists, who considered the analogy “seven gamma sounds – seven spectrum colors” to be untenable. Continue reading
Many people dream of learning to sing beautifully. But is this activity suitable for everyone, or is it science for the elite? For most singers, the voice melody sounds easy and free, but not everything is simple here. When singing, the speech position, the correct position of the body, the sense of rhythm, and the emotional state are important. In addition, your breathing, diction, articulation will affect the purity of the intonation of sounds. For the development of each of the skills necessary exercises.
Let’s start with breathing and the correct position of the body when singing. In the question “how to learn to sing beautifully,” it is the aspect of the position of the body that is of primary importance. Drooping shoulders without raising during sound extraction, legs shoulder-width apart, flat back, support on the heels – all this is very, very important. Breathing should be abdominal or mixed, that is, you need to breathe with your stomach. And only to them, without raised shoulders, and without a set of air in the chest. Continue reading