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 . . .