MoryaFederation·274 videos

The Vibrational Architecture of Living Together in Harmony.
A talk given at the 27th Annual Conference of the Seven Ray Institute and the University of the Seven Rays.
— “I want to demonstrate to the world the architecture of a new and beautiful social commonwealth. The secret of my harmony? I alone know it. Each instrument in counterpoint, and as many contrapuntal parts as there are instruments. It is the enlightened self-discipline of the various parts, each voluntarily imposing on itself the limits of its individual freedom for the wellbeing of the community. That is my message. Not the autocracy of a single stubborn melody on the one hand, nor the anarchy of the unchecked noise on the other. No, a delicate balance between the two – an enlightened freedom. The science of my art. The harmony of the stars in the heavens. The yearning for brotherhood in the hearts of men. This is the secret of my music.”
~ JS Bach

Harold Grandstaff Moses, Honorary PhDE in Musical Cosmology from the University of the Seven Rays, Director of the Institute of Harmonic Science in Phoenix, Arizona. Harold is a composer, orchestrator, violist, educator, choral director, musical cosmologist, and vibrational theorist. As an experienced guide into the world of sound, music and healing, Harold uses descriptive metaphors and new science examples to reveal the majesty and mystery of vibration, resonance and harmony.

Duane Shinn·500 videos


Wikipedia – Motif

November 16, 2013

Music Motif, from Wikipedia, the free encyclopedia
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For other uses, see Motif (disambiguation) and Motive (disambiguation).

A phrase originally presented as a motif may become a figure which accompanies another melody, as in the second movement of Claude Debussy‘s String Quartet (1893).[1] About this sound Play (help·info) White would classify the accompaniment as motivic material since it was, “derived from an important motive stated earlier.”[2]

In Beethoven‘s Fifth Symphony a four-note figure becomes the most important motif of the work, extended melodically and harmonically to provide the main theme of the first movement. About this sound Play (help·info)

Two note opening motive from Jean Sibelius‘s Finlandia.[3] About this sound Play (help·info)

Motive from Machaut‘s Mass, notable for its length of seven notes.[3] About this sound Play (help·info)

Motive from many of Bach‘s works including the first movements of the third and sixth Brandenburg Concertos and the third viol da gamba sonata.[4] About this sound Play (help·info)

Motive from Ravel‘s String Quartet, first movement.[4] About this sound Play (help·info)

“Curse” motif from film scores, associated with villains and ominous situations. About this sound Play (help·info)

In music, a motif About this sound (pronunciation) (help·info) or motive is a short musical idea,[5] a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: “The motive is the smallest structural unit possessing thematic identity.”[3]

The Encyclopédie de la Pléiade regards it as a “melodic, rhythmic, or harmonic cell“, whereas the 1958 Encyclopédie Fasquelle maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject.[6] It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. “The smallest structural unit possessing thematic identity.”[3] Grove and Larousse[7] also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it “is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term ‘figure’.”

A harmonic motif is a series of chords defined in the abstract, that is, without reference to melody or rhythm. A melodic motif is a melodic formula, established without reference to intervals. A rhythmic motif is the term designating a characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a melody.

A motif thematically associated with a person, place, or idea is called a leitmotif. Occasionally such a motif is a musical cryptogram of the name involved. A head-motif (German: Kopfmotiv) is a musical idea at the opening of a set of movements which serves to unite those movements.

To Scruton, however, a motif is distinguished from a figure in that a motif is foreground while a figure is background: “A figure resembles a moulding in architecture: it is ‘open at both ends’, so as to be endlessly repeatable. In hearing a phrase as a figure, rather than a motif, we are at the same time placing it in the background, even if it is…strong and melodious.”[1]

Any motif may be used to construct complete melodies, themes and pieces. Musical development uses a distinct musical figure that is subsequently altered, repeated, or sequenced throughout a piece or section of a piece of music, guaranteeing its unity. Such motivic development has its roots in the keyboard sonatas of Domenico Scarlatti and the sonata form of Haydn and Mozart’s age. Arguably Beethoven achieved the highest elaboration of this technique; the famous “fate motif” —the pattern of three short notes followed by one long one— that opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example.

Motivic saturation is the “immersion of a musical motive in a composition,” i.e., keeping motifs and themes below the surface or playing with their identity, and has been used by composers including Miriam Gideon, as in “Night is my Sister” (1952) and “Fantasy on a Javanese Motif” (1958), and Donald Erb. The use of motives is discussed in Adolph Weiss’ “The Lyceum of Schönberg”.[8]

Hugo Riemann defines a motif as, “the concrete content of a rhythmically basic time-unit.”[9]

Anton Webern defines a motif as, “the smallest independent particle in a musical idea,” which are recognizable through their repetition.[10]

Arnold Schoenberg defines a motif as, “a unit which contains one or more features of interval and rhythm [whose] presence is maintained in constant use throughout a piece”.[11]

Medieval Counterpoint

November 15, 2013

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Hey Jazz Guy discusses motivic development techniques in jazz improvisation. As seen in Guitar Player Magazine.

Sheet Music of examples can be found at

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Making melodies out of scales is a great way to learn some basic tricks while playing your instrument. Make melodies out of scales with help from an experienced music teacher and mentor in this free video clip.

Expert: Rachel Cui
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The songwriting tips in this video are eye openers for songwriters in every genre. Master this technique and you will be unstoppable even by producer standards.

A given chord progression can only yield certain notes as singable. The typical method by most songwriters is to write the music first thereby reducing the possible melody choices. How about going at it from the melody first approach? This experiment shows a mathematical comparison which blows the typical approach out of the water giving you the maximum amount of choices.

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Songwriting instruction by hit songwriter and instructor, author of “Popular Lyric Writing: 10 Steps to Effective Storytelling”


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For many people often the most difficult task of songwriting is lyric writing. And with lyric writing often the most difficult part is knowing where to start. In this video I give you one technique I’ve found useful: Start at the end!

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