Bach And Roll: Vocal Harmony as Ideal Music

A bird does not sing because it has an answer.  It sings because it has a song. 

                                                                                            —   Chinese Proverb

DNA is chatty (in the form of humans) and it even sings — naturally.   The Ideal language (A Language free from all the problems of the natural languages as they are today, which corresponds as an analog to DNA) is directly related to the question of ideal music.

I believe that the closest thing yet in the world of music to its ideal genre represents what we might call the Romantic tradition, with its natural themes, human focus, emotive drive (love and human relations), traditional association with the violin, piano and/ or guitar (stringed instruments and/ or what we might call “aspirant” instruments occasionally — instruments that “breathe”).

DNA favors this.  Remember that the human voice is a stringed instrument through which the vocal harmony professional must send a great deal of wind (its a guitar!, no its a flute!) to sound excellent and beautiful.

The versions or variants we have had so far run a little bit wide of the mark in several ways, but we have wandered closer and closer to the more ideal range over time.  The Neo-Romantic tradition bears a variation called the vocal harmony tradition (In addition to John Denver, Air Supply and England Dan & JF Coley, I mean) which some associate with groups like Westlife, One Direction and the Backstreet boys (and others like these) — different though they may be.  For those unfamiliar with 1D, go to utube and type in “I Wish.” (You Neo-romantics won’t be sorry).

To begin with the sounds of the ideal music, its lyrical sounds, should be as beautiful-sounding as possible.  This singular, fairly obvious (to those who see ideal music as “auditory beauty”), criterion would eliminate from the language (LGG hereafter) we use in music what are called “gutturals” in LGG studies.  These include “harsh sounds” like words ending in “ck” or the hard “g” sound.

One wisdom tradition has it that “harsh words” stir up anger.  We do not want in ideal music either melodies we might describe as “volatile and jagged” (but smooth and streaming) nor do we want harsh-sounding lyrics.

The reader might try an interesting experiment, which I also tried on upon a time.  Try to produce with friends the best sounding “phonemes” (approx. a syllable that yields a distinct sound), and list them for use in ideal music. Eliminate the harsh and ugly ones from your library of most excellent phonemes.  It is great fun and the one I undertook came up with these as the most important letters to use for their sounds in ideal music.

(My experimental language actually ended up sounding a bit French (mon ami); I plan to allow enough time to pass to try the same experiment afresh and see if my results differ a great deal, else just a little, and compare them).  According to ideal math, everything done in music-writing world should be done in even numbers and with base 8 math (Think “Octaves”) — as much as is reasonable plausible.

The (16) “best letters” list for the (beautiful) sounds made in the English alphabet looked like this:

A, B, D, E, L, (soft) G, H, M, N, O, S, T, U, V, W, Y.   Syllables with one or more of these can be constructed and added to the list.  ‘Keep “music world” beautiful’ is the romantic’s cry.

Long Live.

 

 

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