Post on 14-Oct-2014
Closer to the
hearth-fire than
echo-voice
oblivion,
bouncing away
forever
further, is the
heat-instinctive
notion-control
of Tambourine
Man, he who
finds the rhyme,
rattle and hum
of human
harmolodics, the
ditty of dogma,
the silly song
and dance of
damnable
Religion.
syd barrett, enamel on canvas, zito
Music is a Sandwich: Just Eat It!
Music is an art of individual and group creation---in the group
context, the interaction between the players can often be observed as
a duel of creation, where a stand-off of sorts occurs---individual
perspectives are brought together producing friction, sparks, heat,
the fire of creation, all possibility contained in the crucible of
mutual endeavors---it takes a combination of deft maneuvering, and
a will toward relinquishing control on the creative environment,
allowing the life in the music to bring about a particular creation’s
unfolding---within this spiral of control and allowance, give and
take, we have to a certain degree, some say about how stimuli enter
the membranic confines of our being; we also have the ability to be
completely open, allowing sounds to flow where they may---of
course, it’s all a part of the dynamic of completeness we call
existence---put another way, it’s the discerning person who senses
when the iron is hot and strikes, and can also sense when a loose
grip on the handle will better serve the situation---when the
sound-environment is approached in a loose and free way, the
sparks of creation are often times best brought to flame when they
are left to develop unhindered by an ego’s resolve---and as far as the
duel of creation is concerned, it can be a duel of irrational concerns,
wherein the music becomes stifled, enveloped in a black cloud of
compounding reactionary behavior; no matter how sweet the initial
fruits, calamity is surely on the horizon---but when the duel is a
wink and a secret handshake and the creative environment is one of
fun and fruitfulness via the flow of intuitive directions and ideas, all
sparks land in the midst of their time---
The uninterrupted space of creation, where the entirety of bodymind
wholeness can embrace the creative act, allows the songwriter to
travel as deep into their being as possible producing expressions of
song and sound from the gestalt of personal experience---the entire
realm of subjectivity is an expression of universal functional
processes; it is everyone’s peculiarities that creates distinctions
between one person’s perceptions and another’s, considering of
course, the degrees and depths of character distortion in any
person---
The collaboration of ideas often produces a more varied array of
sounds and colors than the singular mind working in isolation---a
collective of idea-producing creatures, can act in unison and fluidity
to synergize the actions of the whole into creative soundscapes, like
the different ingredients coalescing in a sauce to create a
unique taste experience, a joyousness stemming from its
complexity---often, the collaborative expression of ideas produces
more contrasting elements than those which arise in the singular
atmosphere, resulting in a richer deeper sound---
Like standing a quarter upright on its side, the act of musical
expression, whether it is solo or group, is more achievable through
practice---practice is made less something that is being imposed, by
making the atmosphere it happens in one of fun, and one where
there is little or no attachment to outcome---once the quarter is
upright, it has fulfilled its purpose and is now available for other
possibilities such as falling over, getting picked up by someone,
etc.---once the music is in the air, it has fulfilled its purpose and is
then available for other possibilities such as dissipation, getting
recorded, being listened to, etc.---
The duel of creation in music also transpires in the transformation of
one person’s song in the group environment---in this sacred
ritualistic act, the ego can’t train wreck the mission if all members
of the musical family are left free and unhindered to search their
development in order to see where their current chops may best fit
the song; this type of open and tolerable space also promotes the
player’s intuitive connection to sound---it is the exception rather
than the rule that all the players in a given group are at the same
place regarding the agreed upon freedom and respect of the
environment in terms of collaborative spontaneous musical
expression---often times it is a delicate situation as people usually
react differently to new social encounters and will feel a variety of
irrational things, like they have let the group down because they
don’t immediately produce the chunk of gold that is or becomes the
song, they question their abilities, etc.---but what it really comes
down to is that most people haven’t experienced true collaborative
expression in music or anywhere else for that matter, so certain fears
will arise connected to deeper extenuating factors of the bodymind,
which are associated with an authoritative development and don’t
allow most people to experience real freedom and openness; the
characterological obstacles of reaction arise in some form or other
when the average person is confronted with an environment other
than the traditional one of authority and hierarchy and its constituent
valuations of leader and followers, i.e., in general, most people need
to be told what to do, otherwise they can’t function as they typically
do---
Even though there can be a leader of a sound-destination
(composition, song), for example the person who wrote the song
currently being developed, the beauty of any sound-destination is
that it can be changed infinitely in the process of development, and
then, by reeling-in the component parts, be brought back to reflect
the original form, while retaining the flavor of everything played by
everyone thruout the development of the song---this flexibility is a
luxury verses traditional painting, where once the original is altered,
it is more challenging to undo---
In the group situation, the sound-destination can be equivalent to a
painting, in that a color, which is put next to or over other colors, or
is separated by a percentage of accompanying colors, gets its
strength, identity, luminosity, by having a direct connection to its
true spirit, which arises because of where it resides in relation to the
other colors in the sound-destination, i.e., it is the bodies,
substances, and essences occurring all around any given body,
substance, or essence, which give it its observable and demonstrable
qualities and quantities of strength, identity, and luminosity---true to
the universality of being, quality and quantity arise with equal force
within all realms of sense, known and unknown, tactile and
ethereal---the dynamics of group creation, occupying the special
place it does in the formation and crafting of sound as music, brings
to the sound-destination the uniqueness of the totality of emotion
represented by the participating individuals---
Everything we do is Music. And everywhere is the best seat. —John Cage
If I hear a sigh of pleasure from the dance floor, it becomes part of our music. —Duke Ellington
How many times have you talked to somebody and you got ready to make a point, and it kind of went off in another direction? Maybe you never ended up making that point, but the conversation just went somewhere else and it was fine…Maybe you liked where it went. Well, this is the way we were dealing with music. —Herbie Hancock
SOUND MAP
(transverse Mercator projection)
intimate
tongue
dark
earthing
verb
forked
dirt
divides
zero
parts
whole
into
bone
flower
X-Ray
ice
shadow
shed
stillness
licked
skin
LIVE UPDATE
Inventing the map, Columbia
hitched the wheelbase joy of being,
Westward the Course of Empire Takes Its Way,
ballad counters her extensible refrain,
lyric blues off the top of my head, rented
paddleboat in 4/4, birds bop tweet in 6/8,
Monk with Coltrane at Carnegie Hall,
shadow water run over my hand
Harmo
lodic <3
works hop a
gathering
of
energy music
contact theredthreads@yahoo.com to
participate and share
Harmolodicworkshop
WE work on feelings, really. we work on feelings, really. we WORK on feelings, really. we work on feelings, really. we work ON feelings, really. we work on feelings, really.
we work on FEELINGS, really. we work on feelings, really. we work on feelings, REALLY. we work on feelings, really.
we work on feelings, really. WE work on feelings, really. we work on feelings, really. we WORK on feelings, really. we work on feelings, really. we work ON feelings, really.
we work on feelings, really. we work on FEELINGS, really. we work on feelings, really. we work on feelings, REALLY. we work on feelings, really. we work on FEELINGS, really.
we work on feelings, really. we work ON feelings, really. we work on feelings, really. we WORK on feelings, really. we work on feelings, really. WE work on feelings, really.
we work on feelings, REALLY. we work on feelings, really. we work on FEELINGS, really. we work on feelings, really.
we work ON feelings, really. we work on feelings, really. we WORK on feelings, really. we work on feelings, really. WE work on feelings, really. we work on feelings, really.
we WORK on feelings, really. we work on feelings, really. we work ON feelings, really. we work on feelings, really.
we work on FEELINGS, really. we work on feelings, really. we work on feelings, REALLY. we work on feelings, really.
we work on feelings, really. WE work on feelings, really. we work on feelings, really. we WORK on feelings, really. we work on feelings, really. we work ON feelings, really.
we work on feelings, really. we work on FEELINGS, really. we work on feelings, really. we work on feelings, REALLY.
—Marc Bolan
c
We are conceived in sound we grow and emerge in its wake. Our history is a collection of sound sensations, experiences, emotions All uniting into an aural identity. It is this ocean of recollections, sound images, dreams, memories We share.
—Stan Shaff
In a lot of ways, the Grateful Dead were more of an idea than a band. Which is a clumsy way of saying that the fact they played musical instruments really, really well was far less important than the shared intuition that they were actually instruments themselves: master craftsmen in whom a holy fire found its rightful vessel. Which is an elaborate way of saying that the Dead as musicians were greater than the sum of their parts, that it wasn’t just fingers and strings and drumsticks but rather, somehow, a collective of seekers aiming their arrows at the Infinite, just beyond the pale of our usual understanding.
—Cullen Seeney, Requiem for the Dead, November 27, 2005
e
s u p e r fo lk t ran s c r i p t i on ss u p e r fo lk t ran s c r i p t i on s
2 …nice dude i like that…
9 thats a good way to figure it…thats a good way to find
out…good work on that…
2 thanks…
9 just to finally straighten that out…
2 it was cool doing it like live…making changes as we just
said it…
9 yeah totally…well that was pretty…a phenomenal
demonstration of something right there…
2 songwriting…
9 yeah exactly what it was yeah songwriting…
2 we were becoming like crafters of songs in a way we
havent before…
9 thats neat…
2 yeah its rad...its huge…this could not be more like
breaking down the rock n roll myth…
9 pretty natural development too…
2 yeah right…
9 out of the harmolodics into the crafted song…what you
are talking about…thats something to write about right
there…
2 yeah well thats key…
9 the harmolodics a spontaneous presentation of a musical
expression leads into order…from disorder creates
order…
2 yeah it sets growth right…
=
9 im not out of tune your just not listening close enough…
=
2 when the music is energetic…when were playing
harmolodics…the endings…we end together…were
dissipating our energies at the same time…we look up
and were both done…
9 weve been aware of the same paths and naturally you
would know when you are both at the end…you both
know if you come to the clearing you both know if you hit
the asteroid you both know.
=
9 you know i came to figure that part of the whole
harmolodic song composition and harmolodics in general
is never settling on a structure or for the most part…its
good to know where things are going but it switches up a
measure before a measure after and things still stay
together…its more a part that the individual isnt set on
whats coming…you know that anything could change at
any point…its part of the game…
2 its cool doing different instrumentation on songs that we
kinda know…
9 yeah i love that…
about
harmolodics:
We are all players and we are all being played. —Keith Jarrett
stepping into our
power. making room for our wishes.
shining with determination and conviction and certainty of life teaming our wholeness microscopic to macroscopic in soundmusic. harmolodics is a way of being and applies in the broadest sense to all passionate communal activities. harmolodics as intuition in music, playing from the primary sense, the first sense, the orgonomic sense = the energetic life sense where good = god. playing sound from the space of the heart, from the divine creative urge—sourced, rooted and growing from sensations, feelings, emotions, energies as harmolodics.
a song has shape <> form <> structure visualize/map the arc of energy
…………………………… soundscape//soundshape
some players feeling the harmolodics: akron/family albert ayler
wooden shjips
harmolodic music cis-um ci-dol-om-rah
spiritual || senses : soul || sensorium
* one ***
chord *****
wonders *******
monochords **********
mantrachordsongs
The music of all creatures has to do with their loves, even of toads and frogs. Is it not the same with man? —Henry David Thoreau When the wind howls around my cabin in the mountains, I hear the music of creation sounding in harmony with the law of nature. —Wilhelm Reich
reconvening as)))))))) migratory butterflies)) return to the))))))))))) eucalyptus trees home) sweet home. songs a))) sprouting forth)))))))) organically. a cappella jam on it. singing the)) joy. crying the)))))))))
sadness. natural)))))) emergences from)))))) immersion in the)))))) exploration,)))))))))))) observation, curiosity,) connection, and)))))))) engagement of playing) ego-free, unjudgmental, and unreactive. in the) flow of our raw pure))) essence, free, and)))))) unencumbered. out of) the trap of many.)))))) around the horn of))))) plenty.)))))))))))))))))
After all, music is—or should be—self-expression. When I’m playing, I try to forget all I know about the instrument or about music. I have to do this in order to create something new and fresh. If I analyze what I’m playing or try to plan in out scientifically, the notes would not come out sounding fresh. If you block out your mind, you can then sort of listen to your emotions. —Gabor Szabo
Music is a love affair between musicians. —Rob Aiman Music is the mediator between the spiritual and the sensual life. —Ludwig van Beethoven Music is pure vibration, unity with the original source. —Wilhelm Reich
***harmolodic being---the harmolodic adventure, the
harmolodic dream
*) at this harmolodic juncture of particulars and vagaries, orders and
disarrays, intentions and ambivalences, we sing together for
ourselves and everything . . .
*) nothing is ever wasted or forgotten, these associations of
energy and mixings of blood, que pesado, que futuro, solomente
ahora!---all remembrances and foggy recollections free of
misgivings, awash in the glow of good-feeling, in the air with the
music, with grace-tones-magic-now dissolving and forming all at
once perpetually, necessarily---being connected to, aware of this
natural tendency of the energetic continuum to be spontaneous and
therefore improvisational in its movement in and thru the creative
impulse---the allowance of the process of creation within/without
oneself, the Accord, in concordance with the raw pulse of eros, the
coarse-strength and graceful-intent of human-animalistic desire and
passional-attractions---as a result of this connection the inherent and
fundamental opposition to any imposition seeking to restrict the
development of this free-flowing nature---so with the music so with
life, music makes the world go round, the harmolodic orchestration
of the spheres’ melody of chance, when in the rhythmic flow of
creation nothing is out of place or inconsequential, albeit a
discordant unity in moments of transition, changing forms, the
inherent malleability of form, the membranic dance of creation’s
possibilities---
*) music isn’t about this chord or that structure, at least not
primarily---these organizations are secondary to the primary
energetic connection between player and instrument and between
players, so inclusively between instruments---its not the fact that a
C-chord makes a certain sound when induced to do so but the
energy cast in such an induction, say with a guitar, from a
wholebody concentration thru the hands and into the wood and steel
of the instrument and the circuit which is then created and
maintained between all contact points, anything organic or anything
enlivened by organicity, which is made harmolodic in its association
with the processes of organicity---
*) the harmolodic stance, the harmolodic way of life---that which
due to its fundamental sense of freedom, is opposed in its way of
living to any sense of culture which seeks to impose its special
brand of rightness and what’s acceptable on others---the difference
between the harmolodic perspective and the cultural perspective !
the exercise of freedom by relinquishing control, in the sense of
being rigid and absolute as to outcome/form---eliminate from the
creative process the most useful amount of cognition/mental
manipulation ! simultaneously cultivating an awareness of the
movement of energy between the players in and around the music---
*) the harmolodic way of being functions without a presubscribed
mode of thinking and behaving and in accordance with natural
rhythms---the water drop of creation, tender and ruminative, in
motion and impenetrable---
*) musical instruments as in musical chairs, heartfelt sympathies all
around---take the thread and run the noodle thick wood pathway
seen awash in a galaxy’s tow, the sound-crest of human-animals
carving space for hearty life-natural ways---public domain, there for
the picking, sugar-latch oaths embracing distance and proximity, as
in the nectar, the precious juice, sisters and brothers arrayed for the
plenitude---to extricate is to guide anew the self to the tribal round
of pulsating membranic inner-onenesses, creatures of sound
operating on values of tone creation and decay, a course of brevity
sustained, the duration of instants is the place to start---begin within
the mystery of movement, organization, conscious involvement
therein, instruments as tools of sound, sounds the tools of
transformation, a loose grip on the handle to frolic and fend with
Splendor, riding the omnivariance, the warm caress to oblivion and
back as scallop-notes and leap-tones ring about the vibrational due,
the condensed fervor of ballast endeavors, as we create life-beauty
from the thickness of our gathering intentions conjoined in the
common purpose of rejoicing in the inner glow of the present---
syd barrett, enamel on cardboard, zito
*) a love and familiarity (they could be the same thing) with the
transient, tentative, tenuous---the brevity of bloom with prolific
yields from the source protected and taken care of---a sense of
listening and friendship, having the recognition but not necessarily
knowing---
*) rock and roll is good enuf
languishing in the scepter-hold
sleeping in the serpent’s nose
rock and roll without measure, if one is open and capable of distinct
impressions, is a manifestation and a constant reminder of the
natural freedoms of the autonomous-individuous within the
primordial unification of swirling lite---freedoms granted the
organismic compact of biological tension and release, freedoms the
present globalitarian-empiric flesh-eating-conglomerate
machine-god, pushing excess as virtue and separation as a
paramount desire, wants to forbid the populous, because the
inclusion of these freedoms in everyday life, or rather their
allowance, would amount eventually to the large-scale realization of
the unnecessity of an authoritarian social structure as to the
governing of our vital needs, i.e., the fruition of masses of people
taking into their hearts and hands the protection and fostering of one
and all’s happiness and satisfaction in love and work---the u.s.
leading the drive to impose on the world the present brand of
fascism (freedom and democracy boiled down to the slave-wage and
the right to vote in public elections, where, regardless of the
outcome, a technocratic world-agenda will be carried out, in which
an increasingly subservient populous displays a limited knowledge
of the origins of class-antagonisms, thru their consumption of goods
and services respective of one’s position in the slave-wage
hierarchy) is happening simultaneously with the tendency toward a
truly work-democratic society regulated by the harmonious use of
all its members’ energies naturally deciding culture---the world will
be forced to enjoy the relative freedoms of the west (as diversity
will protect itself no matter how trammeled by cultural
homogenization), while a unified push to shake this imposition
develops . . .